At times a lick more panache might have leavened proceedings, but ‘Winter Reigns” celebration of the great English pub (where “the dark’s never far behind”, naturally) rounds out this confident debut in style.

If this is bedroom pop, it surely stems from the most cluttered yet colourful bedroom imaginable.

Anger, bitterness and scorn spike the discomfiting atmosphere at every turn.

The Kasabian-ish 'Danny Come Inside', with its predatory stride, and the tautly atmospheric 'Had It Coming' are rallying gear shifts; disappointingly, the remainder of 'Milk Famous' seems to be on cruise control.

This sticky mess is his best yet.

Disenchantment should always be this spellbinding.

What richly rewarding, flourishing, beautiful songs they are.

As engaging as an album of mood swings can be.

A jubilant collection.

So, all in all: not a bad album, but most of the time it’s more harmless midge than lethal mosquito.

Nocturne still treads the same paths, but it finds Tatum taking far bigger, more confident, strides.

'Dead Set On Living' also explores such lyrical subjects as being the offspring of a particularly nasty nuclear winter, but does so to a cauldron of riffs and deathly roars stolen straight from the depths of Hell so pant-wettingly exciting, that it's impossible to do anything but scream along.

[Their] slightly-off-kilter lyrical slant is probably the most remarkable thing about Evans The Death's Echobelly familiar indie.

Throughout, Niblett’s lonesome, PJ Harvey-like voice and grunge-bitten guitar are central, while disorientating snare cracks serve to underline her forlorn tales of domestic crises.

London Grammar’s polished take on trip-hop is quietly dramatic, sometimes beautiful and well worth a listen.

Grips you like summer flu.

A well-rounded and mature second album.

A perfectly-crafted album rich in just about everything.

Saxophone solos! Samples that may or may not be from the Sugarhill Gang! The EastEnders theme tune sung in the style of Boyz II Men!

Guitar work comes across as the strongest feature of 'Spooky Action At A Distance' – tricky arpeggios and impeccably crafted feedback combine to create bleary, Kurt-Vile-esque smokescapes.

There’s a handful of ballads too--the surest sign of maturity--but just when we think they’ve given up the pacy numbers forever, they sucker-punch us at the death with the perfect one-two combo of ‘Unwanted Place’ and ‘Young’.

Two Wounded Birds' pains make for mighty pleasurable listening.

It's slicker than anything Katy's done before – maybe not as long-term-lovable, but certainly worth living with for a while.

Nostalgic, positive and romantic, it pumps new warmth into Copenhagen’s cold and concrete punk movement.

Sure, there’s clunky country passages (‘Houston Hades’), brassy crooning (‘J Smoov’) and Cream-y jams (‘Cinnamon and Lesbians’), but Malkmus’ wit remains more than intact in his middle-age.

These are tracks made for the pub, to be bawled to with beating hearts and swollen lungs. Get involved.

Dutch Uncles’ third album is easily the Manchester band’s most accomplished effort to date.

This mostly-great follow-up is occasionally waylaid by its determination to make bad instruments sound good.