No new tricks, but there's life in these old dogs yet.

Shulamith picks up pretty much where that album left off, mixing elements of yacht rock, soul, hip hop and dub into a smoothly melancholic whole--but at times Leaneagh’s vocodered emoting makes you wonder if this isn’t just Dido for the blognoscenti.

A coy, slow burner, it doesn't kick off properly until its latter stages.

Mis-steps like the sticky Santana-worship on 'Hanuman' are far less palatable, but when the combinations match up, it proves exactly how impressive this band have become.

This is a missed opportunity, but it's commendable that when both parties are not at their strongest the results can still satisfy.

Though Brightest Darkest Day isn’t a world-changer, you have to admire this pair’s indisputable dynamism.

On the whole, Tender Signs struggles to get beyond the level of an immersive period piece.

To say Michael Kiwanuka's debut is not the most modern-sounding album would be an elephant-sized understatement.

Initially it is exciting – the title track and 'Hips And Lips' pack a visceral punch – however, repeat plays reveal that 'The National Health' offers nothing particularly new.

Far more stripped back than the Charlatans frontman's previous offerings, Oh No flits between affecting moments (the rather gorgeous 'Hours') and repetitive down-beaters ('A Case For Vinyl') that seem to go nowhere.

For a Tarot-themed rock album made by an immortal megalomaniac, it's actually OK. Especially the loud bits.

The Jezabels are so nearly there on 'Prisoner'– they just to focus.

Sadly, Siberia is lacking any genuine spark.

All designs are firmly fixed on a glorious technicolour gem, but it's fair to say results are mixed.

'Port Of Morrow' is a glorious and confident return, even if it lacks a little darkness at times.

The dreamy 'Clone' has a touch of the Cocteau Twins about it, while the title track's polished riffs are pure powerpop. Only occasional moments – the lame guitar lick on 'Breathing Under Water' being one – sound outdated, proving that when it's done well, a little nostalgia doesn't hurt.

While there are individual moments that are up there with the band’s best, Right Thoughts falls short of the return to form the opening tracks suggest.

'Matilda' is superb, squirmy avant-pop, 'Tessellate' sports a pleasing, stuttering, polyrhythm, whilst 'Breezeblocks' skitters beneath multilayered vocals.

Combining moments of instrumental grandeur with sections so stripped-back they verge on silence, Watson delivers the perfect summer evening soundtrack.

Don’t Forget is just possible to enjoy. But only in mod-eration, of course.

It's largely uninspired and generic dance music, all industrialised dystopia and insouciant dehumanisation, making U&I an often prosaic return.

At his best, Oberhofer packs emotional punches in the maniacal vocals of 'I Could Go', underscored by proggy synths, billowing flutes and a chorus that stomps around like a giant drunk toddler. Somehow, Oberhofer's melodrama makes getting dumped sound fun. If only he could keep it up over a whole album...

Magic free and generally shapeless, TEEN have some real growing up to do.

Occasionally it's beautiful--the acoustic breakdown in 'Thoughts' is unexpectedly sublime--and often beguiling.

Occasional cringe-inducing lyrics aside, 'Dry Land Is Not A Myth' gets everything bang on.

The band's fifth full-length is a sluggish drone of guitars so muddy they sound like they were recorded in a bog married to pseudo-spiritual waffling from singer Dave Heumann.

Surrounding himself with talent that far surpasses his own doesn't hide the weakness of many of these tracks.

This is as forceful, salacious and dangerous as they’re likely to get.