Smith’s new record does feel like her most personal. Her lyrics have a stream-of-consciousness style, as though she’s in the middle of composing a message to a friend or partner. The delight she takes in performing these songs is palpable.

The music is fine, if aimless.

The Ship is a strange amalgam of Eno’s familiar ambient approach with poetry--the latter delivered in a sonorous basso profundothat resonates with a sort of looming, warning warmth.

An album which focuses their stadium-alt-punk sound to its sharpest edge yet.

It’s an engrossing set throughout, leading one through the subdued swirls of “Dawn Chorus” to the climax of “The Uncertainty Principle”, another work whose throbbing organ and cavernous twang owe a distinct debt to Can.

The results are spiritually exhausting.

Best of all is "The Day That We Die", Rufus Wainwright oozing mournfully with his dad about the way that familial potholes prove so difficult to repair.

Lux Prima is an accomplished record--proof that two wildly different minds can work seamlessly together.

Chromatic is an extravagant, sometimes even overblown album – but I suspect it will keep revealing itself over time. And by that point, she’ll be on to the next era.

The only reliably engaging elements of the compositions are the wonderful choral arrangements that provide most of the mortar connecting Björk's voice to the instrumental parts.

The creepier explorations of infantile eroticism--the lollipop metaphor of “All Day Suckers”, the fairytale allusion of “Baby Teeth, Wolfy Teeth”--are voiced by Harvey himself, allowing guest singers like Jess Ribeiro and Sophia Brous to indulge the sweeter romanticism of songs such as “The Eyes To Cry” and “Prevert’s Song”, where Gainsbourg’s musing on the poet’s work prompts a moving reflection on transitory love.

Lighting Matches is polished soul and swing with a sharper edge than some of his contemporaries have managed.

The tableaux of refugee camps, warzones and dereliction--an abandoned building littered with syringes and shit, a drug-riddled neighbourhood, a polluted river, “a displaced family eating a cold horse’s hoof”--builds grimly throughout, albeit to uncertain ends.

Gunn has created a work of quiet, understated charm. But as far as helping him break out as a distinctive artist, it’s less likely to make its listener sit up and pay attention than lean back and close their eyes.

Deceptively uneasy listening at times, but worth the effort.

Though rooted in familiar influences--“Crossing The Road Material” is like a more anchored Neu!, while “Old Poisons” is old-school psychedelia, with squealing organ and guitar swathed in drums--Mogwai apply subtle details that are unmistakably their own.

It's a deeply satisfying album, steeped in mystery and enchantment.

A little more campfire crackle to his delivery would have helped lift these good short stories from the prettily glowing embers of forgettable and occasionally recycled melodies.

At their best, on the barroom piano rocker “Dirty Water”, there’s a brazen, Stones-y charm to the tart, offbeat guitar twitch and raunchy slide guitar; while societal decline is dealt a simple slap in the punchy rocker “Death & Destruction”.

Throughout, he creates an absorbing sound-bed from folk-rock grooves embellished with unexpected tones and texture.

An album by turns terse, sinuous and playful, streaked with disgust and delight in roughly equal measure.

It’s an odd alliance of elements that seem at odds, but work beautifully together.

Schmilco seems diffident and restrained, mostly built around the folk-rock strummings of Jeff Tweedy’s acoustic guitar, with minimal embellishments. But it’s exactly the right approach for the bitter, painfully personal songs he has written here, which address the living and the dead, the loving and the lost, and most of all Tweedy’s own furies and frustrations.

Is there nothing they can't do?

Certain songs work better than others: “Dog Eat Dog” tries to tackle social injustice but lacks real bite; “Don’t Think”, though, has all the swagger and defiance of vintage Blondie. Most impressive is how much more confident The Big Moon sound as a band.

Each track makes unpredictable bedfellows of certain sounds; even the deceptively simple guitar ballad, “Gross”, drops a synth that sends ripples through Von Schleicher’s lilting top register. It’s a disruption that echoes the most prominent theme, the struggle to translate her deepest thoughts to a lover, and consequently find her own power.

It’s pleasant enough, but let down by Jurado’s unengaging vocals.

It’s an album that sounds very little like their last, and in that sense – despite its myriad reference points – The Ultra Vivid Lament is a Manic Street Preachers record, through and through.