Although The Girl Is Crying In Her Latte might not be quite equal joyous recent peak Lil’ Beethoven, it’s impressive that, on their 26th album, Sparks are incorporating new sounds and concepts, whilst still sounding exactly like themselves.

Now might be a homely, undemanding listen in places but it’s also rewarding, a set of songs that will certainly appeal to long term fans but one that also deserves wider appreciation. It feels like a classic case of Nash making music for himself and if others enjoy it too, well that’s a bonus.

In short, it’s classic Eluvium and caps another special album, one that sparkles, soothes, and confirms him to be at the height of his creative powers.

Its author remains a restless creative spirit, but Paul Simon’s music feels as relevant now as it ever has done, his work reaching the very depths of the human soul.

Joan Of All isn’t an immediate album, and it’s probably not one to reach for a sugary pick-me-up either. Yet if you dedicate enough time to it, what emerges is a work of rare depth, craftsmanship and beauty.

Broken By Desire To Be Heavenly Sent generally plays it safe, assuming the schtick that’s got Capaldi this far has more mileage in it, which gives the album a competent, workmanlike air.

If this were the debut album of a new group it would be celebrated as a fantastic example of the visceral and cerebral pleasures of a singularly oppressive style of psychedelic metal. As with all of Jarmusch’s projects, it’s an acquired taste, but a powerful one.

It’s a record bursting with so much confidence and instantly likeable songs that it already sounds like a hit.

We are left with an album that has several great tracks, but whose filler and repetitive subject matter prevent the Jonas Brothers from realising their full-grown potential.

An album which is both fascinating and hard to listen to at times. Gag Order may not go down as Kesha’s best album, but it’s certainly the album that she has to make at this present time.

The album, when taken as a whole, is simply too much. When taken as individual pieces, it works much better – and there’s simply no reason for it to be this long.

A signature sound is all well and good, but in the future the duo would benefit from indulging their inventive side more.

Complex yet accessible, and best experienced when fully immersed in it. It’s possibly Braids’ best record since their debut Native Speaker – a record that reveals more delights the more times you listen to it.

Everything Harmony is the sound of two men taking nearly 50 year old references and reframing them for today. For a refreshing twist on a vintage sound, nobody does it more impressively than The Lemon Twigs.

The Love Invention wades into territory more mainstream than even Supernature, slotting merrily between Murphy’s recent output and Kylie Minogue‘s return to her Disco best, and succeeds very well in creating stylish, louche, mature bops. In so doing, it unquestionably establishes Alison Goldfrapp as a solo force.

There may not be anything hugely original to be found on Raving Ghost, but Olivia Jean has charisma by the bucketload, which makes this album such an enjoyable listen.

There are plenty of moments where the sheer brilliance of his musical intuition and technique are nothing short of breathtaking. It’s an album that deserves to find an audience beyond drum enthusiasts.

Although the songs on – never really rise above a mild trot, there’s still some musical variety.

The Rat Road does indeed become an accurate reflection of modern life, but it lifts far above the routine, providing an insightful and emotive soundtrack for many who cross its path.

Nathan Fake is technically skilled, and on tracks like Hawk his creative verve really shines, but some kinks could be ironed out on this rose-tinted trek.

Prism gives The Orb a youthful complexion, its heady brew of musical ambience, songwriting substance and sample-based humour bringing a hefty dose of positivity. Strongly recommended.

This is a remarkable album, even for an artist as consistently strong as Susanne Sundfør has been to date. It reaches into the centre of the human heart with primal connections that probe at its very existence. It is another striking addition to the discography of a singer who just keeps getting better and better.

Some may find the often austere arrangements off-putting, but this is an album which proves that Tiny Ruins are a band that can creep into your heart without you even noticing.

It’s an album that confirms the sound of an artist continuing to push forward, a unified expression of joy that is never anything but bold, playful and fun.

Stylistically Avalon Emerson was taking a risk on & The Charm, but with this engaging, surreal, infectious music it pays off massively.

Star Eater’s Delight is Neale’s best, and most accessible, work to date.

If you don’t pay attention, it’s harmless background fluff, yet if you concentrate there are mysteries and subtleties to discover that demand repeat listens.

The DJing skills are still there and the grooves hold together throughout, though there is rarely much of interest on top of them. ... There are also precisely eight bars in The Cards’ mid-section where the drums hit just right, before they’re replaced with yet more poorly-mixed elements. These moments are so few and far between, however, that it’s hard to justify the album’s raison d’être.