Burn Your Fire, through increased complexity of instrumentation, creates a new dynamic--the vocal is more understated and reserved, less elusive and divergent --it's autonomy partially tethered by the whole ensembles balanced interrelation.

At times it seems to be too much under the influence of My Bloody Valentine--even the cover art evokes them--and their contemporaries, yet it does what it does very well and it would be harsh to overlook the fact that this is a strong debut in its own right.

To combine filmic orchestral scores with the punch of hip-hop, the fun of indie-dance, flavours of funk, nocturnal London sounds, glistening electronica, with such natural fluidity makes War Room Stories a genuine pleasure to listen through; and makes it not just an interesting but an important step forward in highlighting the versatility of "the band", as well as in prolonging its perceived shelf-life.

While some may still find Fanfarlo's sound too inoffensive to get its hooks in under their skin, Let's Go Extinct is an undeniably ambitious, energetic and bombastic effort.

Despite a couple of assorted shortcomings, Crosses is a solid album. Moreno, Lopez and Doom draw from a vast palette of tones to create some legitimately interesting tunes.

As usual with Cooly, the sound selection is on point, as an 808 cowbell is included in the arrangement.

Across eighteen tracks, no matter how long they might be, quality control is bound to be something of an issue so alongside the cracking motorik electro instrumental of 'Overtime' we do get the morose 'Women Lost In Thought' or the noise-mess of 'Missing Time' but these are small detours from what's a pretty engaging record.

As jagged and dark as Dead might appear, there's a real celebratory feel to this album and that's down to some fantastic influences.

July is infectious. It translates well to many ears.

There's nothing bold or groundbreaking about Let's Wrestle but it plays to its strengths. It's almost what you expect it to be, but not quite.

A brilliant debut for Temples.

It's an assured album that utilises everything Katy B has going for her, from her love of clubbing to her BRIT School trained voice which is both bewitching and relatable.

It's not the best music of its kind available, no. But for Maxïmo Park fans, this will succeed in becoming a vital notch in their canon, and for non-fans, it at least worth a spin or two.

Repeated listening will take you down new paths, unlocking Easter eggs along the way; immersive, entrancing and absolutely non-linear.

Similar to the likes of Animal Collective, it weeds out the ordinary pop listener to reward the fan devoted to deciphering its layers.

Compared to their debut album, Dunes marks a step up in the band's sound.

It will take a patient, contemplative listener to fully appreciate the picture that emerges.

David Crosby simply continues down a path he established for himself a long time ago, and even if he has encountered a few bumps along the way, this is a record of a man who has done everything he wanted to do with his life, and Croz emerges as the final piece of the puzzle.

Their sound feels a little dated, especially when you consider the amount of bands who just a few years ago were producing very similar material. Yet, they show promise and in their final song 'Call Me' show a more introspective side with Vangelis style synthesisers over reverberated guitars.

It must be frustrating for Steadman and his fellow Bicycle Clubbers to be unable to shake off the mainstream's lager-stained memories of their debut, but you get the sense that So Long, See You Tomorrow is an appreciative, if somewhat firm, farewell aimed in their direction.

Not outstaying its welcome (a common problem for samplers that peddle transcendent music which can occasionally feel like it is treading water), there is a good diversity of experiments, albeit largely backed by familiar themes.

Each of the nine tracks holds its own.

The record's very nice, but swimming alongside adequacy rather than soaring for the top isn't a wonderful career move.

Recorded without the aid of computers, its songs evoke great monsters of the '70s in its heavier moments, and '90s stoner rock in its mellower, more melodic moments. Innocence is an album that manages to balance these two styles incredibly well.

All these tracks, whilst lovely in themselves, are made ten times better when tethered together.

Each record provides exactly what you want (and a little bit more) and this should be applauded. Whether you're a seasoned fan or only just discovering the band for the first time Rave Tapes deserves a spot in your collection.

This is an album that is adaptable for any mood or setting, so long as the listeners go with the flow and let the music take control.

To be fair to him, Morgan Delt is very, very proficient, nailing the '67 sound while injecting a dose of discipline that many imitators miss.