The key to the German svengali’s work is its widescreen possibilities: the emotional response that music triggers when we watch a film or take in a painting which allows us to briefly inhabit another world.

A neat homage to Sartain’s punk idols that marks a departure from his previous rockabilly and r&b-inspired music. A pleasant diversion that remains true to the spirit of punk.

Cale steadily works the light back into his music, the stark beauty of his earlier work succeeded by a set of shimmering songs delivered by a band but still set to poetry like Dylan or Cohen. Ambitious and accomplished.

Air’s extended soundtrack to a recently-rediscovered early sci-fi classic sees the duo craft another synth-pop gem with vocal contributions from Au Revoir Simone and Beach House’s Victoria Legrande.

Wisdom doesn’t always come in neat orderly rows, as Richard Linklater’s classic 1991 independent film ‘Slacker’ brilliantly shows. While McCombs previous album Wit’s End was the musical equivalent of prozac, Humor Risk follows this sprawling and plotless format, inviting us to just jump on and enjoy the ride.

There’s nothing really offensive here, but maybe that’s part of the problem: when COD-rock becomes COMP(-etent) rock, surely the torchlight which ignited the whole thing in the first place has gone out?

Clearly with an ear for a tune, Butcher The Bar isn’t shouting for attention but letting the songs do his bidding. It would be nice for a songwriter of this kind to stick around a bit, so we don’t end up struggling with his legend like all the others. Watch this space.

Back To Creation is no one-stop shop, Lowes will continue to absorb influences and work with different people, gathering experience and developing as both singer-songwriter and musician. And plenty of colour in the long and winding road ahead.

“There is no progress in art, any more than there is progress in making love. There are simply different ways of doing it.” Matthew Haddrill argues Man Ray’s infamous quote with the release of London trio Rayographs’ debut album.

PS I Love You tap into a chaotic breed of rock’n'roll; born of frustration and full of frenetic DIY energy. Full of swagger and spunk, Meet Me At Muster Station is pure unadulterated fun says Matthew Haddrill.

Keren Ann maps out tragedy (and tragicomedy?) in her stories of love, but reading between the lines there is some hope for us as well as heartbreak, and we all need a bit of that don’t we?

If you can get over the fact that they have one of the worst band names since the dawn of time, Penguins Kill Polar Bears deliver a slice of Scottish post-rock that certainly shows a whole load of promise for the forthcoming album.

Just another small step in the life of the young troubadour, wallowing in misery but still coming up smelling of fresh roses, possibly a Gram Parsons or a Hank Williams in the making. The leanings towards country rather than folk give the guy more power to his tragic elbow as he continues to develop as a credible artist in his own right.