The GOASTT wig out like shamen throughout Midnight Sun.

10,000 Maniacs fans may yearn for the simpler music of old but, sad to say, given the effort involved, uncommitted listeners will simply shrug their shoulders.

Much of the material is by-the-numbers mainstream pop-rock, which is why the mesmeric Latin jazz groove, Yo Soy La Luz, featuring saxophonist Wayne Shorter and Santana’s drummer wife, Cindy Blackman, stands out.

The lack of personality is most strikingly felt in Kim Deal’s absence.

The lack of a decent thread means that, while Revelation has some undoubted tunes, it remains an awkward overall listen.

While it believes it’s a storm of Ocean Rain-esque majesty, Meteorites fizzles out like it’s just another shower.

The quality of the songs is uniformly excellent, the performances electric and, moreso than ever, Holland’s vocals are a drawling, tightrope-walking treat as she veers between lust and heartbreak with real abandon.

On the whole, for an artist so spectral and kaleidoscopic, Upside Down Mountain is a pretty sweet ride.

A richly rewarding set from a songwriter growing with each release.

His finest achievement yet.

New York… is a pitch perfect and regularly beautiful homage to the likes of Suicide and the Velvets.

While we should never compare a solo artist with their band’s work, when the template they’ve already set over the years is so very strong, and when they don’t at any juncture try to reset it, the feeling of missed opportunity is perhaps potent and hard to escape.

Wrangler make vibrant, organic electronic music that respects the genre’s history while turning a fresh page.

It’s powerful stuff, still wholly worthy of “10 fucking stars”.

Crowell continues to stake his claim as one of the genre’s most learned and accomplished performers, and if there is a gripe it’s that, at 11 tracks, the party’s over way too soon.

There’s a fine college-rock jangle to The Beat’s Save It For Later and some fab California-kissed harmonies on XTC’s Towers Of London.

Mixing up the correct dosage proved tricky, but, to Berry’s credit, Music For Insomniacs reclines on a perfect plateau: chewier than your workaday (workanight?) ambient dribble, but not so rich with incident that you’ll sit bolt upright.

A long overdue return, and well worth the wait.

The works of a mature band with a confident mix of musical hooks, earworm choruses and a direct beat.

While not quite equal to its predecessor, Divide And Exit offers plenty to get your teeth into.

There’s a gleefully brash use of whatever’s at hand that recalls the one-man-band approach to his solo debut, Yr Atal Genhedlaeth, but American Interior is also a far better exploration of Americana than Super Furry Animals’ Love Kraft turned out to be.

Producer Glyn Johns captures a laconic, organic vibe throughout, aided by such top-notch players as Ryan Adams, Gillian Welch and David Rawlings, on an album that oozes good taste and effortless class.

PUP’s ability to enliven a tired genre with an abundance of ideas and exuberance is a small but exceptional feat.

To put it bluntly, it’s the sound of REM album tracks circa 2001-2008, only with a less interesting frontman and a lyrical conceit that can often exclude the listener.

Throughout, they’ve remained a surprising and, more importantly, single-minded unit.

Occasionally, the rhinestone pop of Carter’s earlier records sneaks into the mix, but for the most part this is a cheery celebration of the old timey tunes she remembers from when she was knee-high to a sharecropper’s shin.

The first [half] sees Adams’ spectral vocals go up against a furious string section, while the second is reminiscent of Joanna Newsom’s work with Van Dyke Parks. It’s all interesting stuff--albeit with a predilection for the twee--but may be a little much for some listeners to take in one go.

A great record in short and well worth hunting out.