Headed by Dave Okumu and originally formulated as a solo project The Invisible are a band that have evolved into critical darlings and a musical stalwart, not through their own volition but the power of the music which they put out. Nominated for the Mercury prize as a result of their 2009 debut, the band faces the prospect of maintaining their momentum with follow-up ‘Rispah’.

Uniquely immersive from the get-go, the LP accumulates the listener to the journey that will be embarked on with the loose progression of ‘The Great Wounds’ soaring riffs. By the time second track ‘Wings’ clicks in, the album is in its full rhythmic stride, throwing an avalanche of genre blending tracks at the listener. There is a lot of depth to the album, which lends it perhaps the quality most lacking from the majority of modern albums – longevity.

At the same time this may provide a boundary for many more fickle listeners as it also requires a certain amount of investment from the listener. It’s one of those albums which it may take two or three listens to fully absorb the intricacies of each track. There is simply so much going on that in a sense it is impossible to fully absorb where the song is going until it is heard in its entirety.

Yet underneath it all is a real gem of an album that is as rewarding as it is pleasing to the ear, it is something to be discovered not to redefine the charts with. People will discover the album on their own terms and define it as such, those who do are in for one hell of a ride that is as rhythmic and challenging as it is melodic and rewarding.

Throughout the entire album, there are consistent bouncy rhythms, no matter what the tone or lyrics of each song. The album as a whole has a very electro feel to it, and While it could be considered a chill-out, background album, it’s a little disappointing considering what the band used to produce.

Jake Shears’ voice is prominent throughout which once again draws the question – why do they have a female vocalist in Ana Matronic when she is barely ever heard? A lot of their album does seem to still contain the same strange, gimmicky themes the band are known for, however this is definitely a matured comeback on their part. 'Let’s Have A Kiki' is definitely the strangest of songs on the album with what sounds like a telephone conversation recorded over the majority of the beats. 'Shady Love' and 'F*** Yeah' however hold similarities in tone to the female artist M.I.A. so it’s hard to define exactly what image or idea this band are aiming for.

'Only The Horses' is possibly the best song on the album, so with that already out as their current single, it’s concerning to think what they’ll release or do next. 'The Secret Life of Lovers' has a potentially creepy tone with the way that the Jake Shears sings the lyrics on will perhaps become one the least popular tracks in the collection.

It’s hard to determine how this album will be received by the public or in the charts – devoted fans will probably love it, and new fans will probably be just as confused as this reviewer. However, it’s worth keeping an open mind, if anyone is likely to shock us with their next offering, it's this lot.

You’ll recognise her from the TV where she routinely pops up in eye grabbing attire or from her breakout hit ‘New York’, a song  whose party was spoiled somewhat by Jay-Z and Alicia Keys and making The Big Apple sound a whole lot better. 

However, for someone so *interesting*, Paloma Faith seems to have left all her personality in her wardrobe alongside the fruit bowl hat and the dress which requires a three man team to get her in and out of on her second album, delivering a slick but forgettable effort that lacks the boldness of its creator.

Underlined by middle of the road balladry, ‘Fall To Grace’ is a Radio 2 endorsed collection of sturdy but negligible songs such as ‘When You’re Gone’ and ‘Agony’ which seek to display intense emotion but, thanks to mawkish arrangement, often become nothing more than backing music.

There are moments where ‘Fall To Grace’ steps away from the piano ballads though, improving exponentially with it. ‘Blood, Sweat and Tears’ is driven by a propulsive beat which places Faith as a sort of house-diva, a confident performer she handles the pace with ease. Similarly, ‘Let Me Down Easy’ is only a few BPM short of being something more memorable. Neither of these songs are going to get David Guetta on the phone but then that is no bad thing.

Ultimately Paloma Faith is likely to continue in that strange world between being wanting to be well loved and but actually just being well recognised. ‘Fall To Grace’ is slick but you can’t help but worry as to just where Faith is really falling to.

Built upon a canopy of lush sonic soundscapes, the record has been described as ‘an avalanche in slow motion’ – and for good reason. Conjuring up images of the natural, spacious and inherently Icelandic, it is an interesting – sometimes uncomfortable listen that has introverted, neurotic undercurrents which sit within the sonic plains. An effect dictated by Jonsi’s haunting falsetto drifting through in his trademark 'Hopelandic' lyrics.

'Valtari', the band’s first album since a self-imposed hiatus, is a paradoxical work. It typifies much of what we have come to know and love about Sigur Ros, and yet is undeniably more peripheral. The common consensus after the release of 2008’s 'Með suð í eyrum við spilum endalaust' was that the band stood on a precipice – dangerously close to relenting to a commercial aesthetic which would see record sales soar but perhaps compromise their original appeal. What has instead happened is the opposite – they’ve pulled too far the other way and have produced a record which sounds ambient on first listen and lacks the climatic crescendo of their mighty back catalogue.

It is both vast and claustrophobic, an avalanche in slow motion indeed, and one that comes close to asphyxiation. For all of the skill and complexity, which Sigur Ros have exhibited throughout the years, this record feels more like retraction than growth. A transition record perhaps, but one that is typified by introversion and lack of light.

Yet, they’re almost totally forgivable. Ambition should generally be encouraged, and they’ve produced a really distinctive collection of songs from an array of peripheral influences. In short, this sounds far too accomplished to be a debut record.

Throughout you’ll find yourself drawing comparisons or mentally citing influences, but they are all ultimately detachable. It’s this elusive quality that is key; Radiohead are brought to mind, as are Wild Beasts, but neither really stick. Instead, you come to realise that it’s the general quality of the album that is inviting such thoughts - rather than any sonic similarities.

The harmonies are very carefully plotted, and with their distinctive vocals in mind, it’s most accurate to describe Alt-J as a band taking on folk music in the most contemporary way. Like a more daring Mumford, the album begins with an introductory track (which they were initially tempted to name ‘Nod to the Canon’ in recognition of their various inspirations) that pairs piano with heavy drums, and moves on to include a lyric-less acoustic guitar interlude (‘Guitar’), a touching love song (‘Matilda’) and an indie track that has found its way to radio (‘Breezeblocks’).

‘Guitar’ is not the only interlude track to feature, and these opportunities to ‘clear the palette’ are indicative of the seriousness and precision with which ‘An Awesome Wave’ has been constructed. The vocals are sometimes strained, and they are somewhat dour, but Alt-J is a band that has earned the right to be taken very seriously indeed.

At first glance it would appear that the band have concentrated more on their lyrical content this time around, with the London riots inspired ‘London’s Burning’ a fine example of this. Taking a delicate look in to the current state of the UK’s economy, the use of radio and TV news sound bytes add power to the already impactful track. Almost instrumentally mirroring The Clash’s ‘London’s Calling‘, as opposed to their song also titled ‘London’s Burning’, the politically driven track - “There’s a rumor London’s burning from within,” is a catchy educational offering with more than its fair share of purposeful drumming and forceful guitar execution.

The main difference between this album and the band’s previous is actually all to do with lead singer Doug Mandagi’s word delivery. Gone have the effeminate beautiful barrier breaking vocals and instead lower toned arrangements stand apparent throughout the 12 track project. Upon first listen you’ll be wondering if it is actually Mandagi singing, but once ‘Miracle’ plays there’ll be absolutely no question that he’s the man on the microphone. Easily the album’s finest moment, the electronically detailed and softly stepped record is an atmospheric gem. With vocals finely tuning your love strings and an underlining keyboard accompaniment that helps you drift off to a thought-provoking place, this could well be the follow up smash the band need.

Steady recordings that play it safe with a stereotypically indie sound include ‘This Isn’t Happiness’ and ‘Trembling Hands’, whereas ‘Leaving The Heartbreak Hotel’ pushes the boundaries of explorative passion. A slow start masks itself as the beginning of something epic. The divine piano keying and precise guitar strums give off an air of self belief. Not only does it leave you wanting to hit rewind the second it ends, it also leaves you asking the question, “Is this the best album closer of the past few years?”

Single ‘Rabbit Hole’ is a brilliant track that offers some beautifully written lyrics but serves a better purpose as an album cut than full blown single, especially when you have ‘Need Your Love’ and of course ‘Miracle’ up your sleeve. While the likes of ‘The Sea Is Calling’ and ‘Never Again’ offer themselves as good album fillers, they are far from fantastic which is a level we have come to expect from a band like The Temper Trap.

With all that said and done, The Temper Trap is a solid second official release. There are bands who struggle to enter the creative process with a clear head and professional outlook, The Temper Trap are not one of them. These guys will continue to make great music for years to come, even if they do drop a few average cuts we’ll forgive them as their finest work exceeds all expectations.

Instrumentally sporadic throughout - one minute Coombes can be heard playing an electric guitar which then gets switched up mid record for an acoustic (‘Sub Divider’), the album has an electro feel unlike any other record released this year. While the conventional indie project might dabble in a few electronic effects here and there trying hard not to lose the stereotypical indie sound, Coombes has crafted a masterpiece of epic proportions exempt from being genre defined.

Take for example the futuristically supersonic ‘Universal Cinema’. With an instrumental array of randomness, which at times sounds like a mash up between Kasabian, Kings of Leon, and Portishead, the results are ultimately pleasing to the ear. The rigorous drum riff at the beginning of the record, which plays second fiddle to Coombes’ gruff vocal tone, fades in and out depending on when the song’s loud and reckless bridge comes in to play.

There is no underlining theme to 'Here Come The Bombs' whatsoever, which actually makes things a little exciting as far as flicking through the track listing. One minute you’re subject to a fast paced guitar heavy smash - ‘Hot Fruit’, and the next you find yourself enjoying instrumental scene setter - ‘Daydream on a Street Corner’. Either way there’s absolutely no chance of disappointment.

Closing the album is ‘Sleeping Giant’, a beautiful piano-driven offering where Coombes actually lightens the mood vocally. Singing, “The days were empty and long, like an empty car ride/ I’m only talking to myself,” as well as, “Waking up in outer space, falling in silence still,” as the listener you’re left in a state of blissful confusion. Pondering the lyrical content but at the same time enjoying the relaxing close to an album with huge amounts of experimental charm, there’s no escaping how good the song is.

It’s apparent that Gaz Coombes has taken all of the experience he’s picked up over his long and illustrious career, absorbed some tips from the new school, and approached this project from a direction not usually travelled by an established artist. To be great sometimes you have to take risks. Here Comes The Bombs is that risk. Fleeting through more than its fair share of genres and styles, the combined atmospheric and instrumental qualities heard on this album are similar to that of a movie score. Think Tarantino meets the Beatles, with a bit of John Barry thrown in to the mix for good measure.

The first couple of songs open with an upbeat, acoustic sounding country style tune. Title track 'The Only Place' and 'Why I Cry' hold similar rhythmic beats which compliment each other, and blend seamlessly into one another. Tuggingo n the heartstrings, 'Why I cry'maintains an uplifting tone even though the story of the lyrics tell the tale of a sad, negative experience.

As the album progresses, the songs seem to mellow out a great deal, becoming more of a Sunday chill-out playlist which is refreshing, particularly the song 'No One Like You'. Singer Bethany Consentino's vocals are so smooth and not overpowering, that it gives each track a really warm, reassuring tone. The rhythm behind each track is quite similar, but unlike other bands who have done this and failed, Best Coast succeed in creating a warm, soothing experience by keeping the sounds familiar.

With such a unique tone, with similarities in tone to Courtney Love – particularly on 'My Life' - Consentino really has a very Garbage attitude about her through her vocals. But let's not overlook Best Coast's second member - with the incredible talent provided by the multi-instrumentalist Bobb Bruno also sounding spectacular – this duo are definitely one to look out for in the near future. The album is an impressive production, and a great record to start the summer months with.

Sadly, it could do with a touch of the dark qualities which purvey those much maligned genres as 'Some Nights' is just too saccharine for its own good.

I don't know whether it's harder to believe that these US cats are from the hip Brooklyn streets of NYC or aren't some naff '80s revivalist outfit unearthed by the producers of Glee.

That's not to say there aren't some nice moments amongst the sun-drowned power-pop which oozes from every pour of this sophomore offering from songbird frontman Nate Ruess and co. 'We Are Young' simply soars and it's patently obvious why it topped the charts over in the States - the first indie single to do so apparently since Coldplay's 'Viva La Vida'. Meanwhile 'Out On The Town' dances along a pleasant pace - all chiming guitars, pounding bass drum and the kind of sweet harmonies ELO nailed down so well.

'Stars' too is something of a sugary treat - blending layered keyboards with Ultravox-esque basslines and Ruess' late night musings. Elsewhere though the record is simply too overwhelming and over polished.

Jeff Bhasker, unsurprisingly a West Coast disciple, has produced this to within an inch of his life - it is simply too clean, too square to have any palatable impact. Album opener 'Some Nights' tries to ape Queen in their '70s pomp but falls into the dreaded territory inhabited by cheesy pop peddlers The Feeling - not good, not good at all.

While 'Carry On' starts tenderly but gets swept away in schmaltz and bombast and 'All Alone' misses the spot with an ill-advised foray into hip-hop. There's no doubting Fun have a great ear for a melody - but it's all just too over-powering, like that extra spoonful of sugar in cup of tea. Sometimes lads, less is more.

Three years on and its clear that The Cribs have learned from their experiences. 'In The Belly Of The Brazen Bull' is loaded with fast-paced indie rock numbers destined to grab attention. But rather than replicate past successes the band's sound has moved on. Still grounded in garage rock, tracks such as 'Uptight' illustrate they've developed, becoming heavier while also using more intricate layers of sonic texture that introduces more glossy, warbling sounds to the straight guitar-sound.

These factors give a depth to an already catchy selection of songs. As such there's a fair few potential singles, from the Ash-like 'Chi Town' to actual single, the crushing 'Glitters Like Gold'. If there's anything missing from this latest step in The Cribs' development, its that some of the bleak Northern philosophy the band are loved for doesn't feature as prominently in these new songs. 'Come on, Be A No One' might have an anthemic chorus and a Nirvana-ish verse, but its no longer quite as believable that this really is a sentiment of this globe-trotting band still subscribe to. Meanwhile 'Stalagmites Like A Gift Giver Butterflies Arena Rock Encore With Full Cast' sounds horribly upbeat, like a cross between The Beatles and My Chemical Romance stuffed full of Prozak.

Regardless of the departure of their nihilistic edge, songs like 'Pure O' prove that The Cribs have come a long way with the crafting of 'In The Belly Of The Brazen Bull'. Far more melodic in general, this instance sees riff-after-riff are layered over each other into eventual crescendoing feedback – far more developed than previous efforts.

Whatever The Cribs might have lost in getting to this point in their career, they demonstrate they've gained infinitely more in writing catchy songs. While those on 'In The Belly Of The Brazen Bull' may not hit home so instantly with a disaffected youth as past songs have, it easy to think this new material will take hold in people's hearts. A great effort that deserves to put garner The Cribs the success they've sought for so long.

The opening track 'Bajan Style Intro' is just a perfect taster of what the album has to offer. With a hint of an early Black Eyed Peas tone to some of their songs, this album offers its listeners a variety of solid beats, catchy lyrics, and an overall good feeling.

The background beat of 'Headphones' holds a similar style of tune to No Doubt's "Hey Baby" – so if you’re a fan of the lovely Gwen Stefani, this is definitely worth a try. 'Lick ya down' rivals Rihanna for the radio-friendly sounds heard on her recent album, but that said, Cover Drive still have their own unique style, and this song is equally catchy, just like the rest of this album. With their front girl, Amanda being labeled the new Bajan Queen of the music scene, Rihanna is definitely going to have a little competition on her hands in the charts.

'Wrongside' is another standout tune and has a vibe similar to Shaggy’s 'It wasn’t me' with the backing rhythm. While a lot of these songs do have a catchy beat, and could be considered similar, it’s safe to say there is still a lot of variety amongst the songs – from calmer, slow songs to upbeat songs that make you want to dance.

Cover Drive are definitely are some way from their pop peak on this, their first album, but there’s no doubt that this is going to set the bar high. It’ll be interesting to see what song they release next because they certainly have a good set to choose from.

One for those in the mood for something lightweight to pack for a summer holiday, this album certainly offers that, so it’ll brighten up any British rainy day.

'Standing At The Sky's Edge', Hawley's sixth studio album, is, in many ways, a departure of style. However, old ties remain prevalent. Once again the album is dedicated to a neighbourhood of his Yorkshire hometown. Like 'Lowedges', 'Coles Corner', 'Lady's Bridge' and 'Truelove's Gutter'; 'Standing At The Sky's Edge' is dedicated to 'Sky Edge' an area of Sheffield which garnered a certain level of notoriety within the Steel City for its gang related crime. It's a theme which forms the centrepiece for Hawley's lyrical narrative throughout. With the title track bringing forth tales of desperate men who killed their wives, prostitutes and those who "find their lives slowly sinking" it finishes with Jacob, "[so] misguided, he carried a blade. So much fear in the city, it carried him away."

However, album highlight is almost certainly 'Down In The Woods'. Thumping guitars and distorted vocals give a furious effect. There's gravel in his Hawley's gut and spit in his eye. Sure, 'Truelove's Gutter' was charged with dark undertones but this is different. There's a new level of menace and it's formed in the storm of Hawley's bass, guitar, drum compositions. This is the record everyone knew he had in him and to hear it boldly striding out into the open is a thing to experience.

Back in 2006, fellow Sheffield natives Arctic Monkey's took the Mercury Prize and famously declared that Richard Hawley had been robbed. Right now, 'Standing At The Sky's Edge' looks like his best chance to take what is rightfully his.

The album immediately sets a darker tone, a deliverance of an uncomfortable tale, accompanied by an obscure mixture of influences and instruments; opening with bird song, which merges into dramatic orchestral droning. It is apparent that the album has been produced with a lot of time and effort; creating an eerie and unsettling atmosphere. It sends shivers down your spine, which is definitely the case in the track ‘A Prayer’, which feels like the Doctor’s cry for help.

The album uses organ tones juxtaposed with folk string, which suits the era well, unlike the modern sounds of Albarn’s previous work and may not be every fans cup of tea - it's certainly a long way from ‘Parklife’. It is hard to imagine any of the tracks standing alone as singles, however the more upbeat ‘Apple Carts’ could be an exception.

The albums sense of making the listener uncomfortable is most evident in ‘Watching The Fire That Waltzed Away’. The lyrics and composition give the idea of a hypnotic roundabout and this feels like a climatic part of the album, as the remaining tracks become more subdue and we return to the melodic folk.

'Dr Dee' is a brave attempt at something new from Albarn, using his knowledge of music well and not in a pretentious way - creating a dramatic opera based on the famous scholar who experimented with science and magic is no easy feat. The last track finishes as the album began, with bird song, the end of a life perhaps, a full circle.

Confidence is clearly something the New York duo are in possession of, which is fortunate as this bizarre gothic digital amalgamation is not an undertaking for the meek to consider. Shannon Funchess and Bruno Coviello have had a devout following at their mercy since the release of their 'In Tension' EP IN 2010, and have responded with a full-length recording that is in keeping with the sound that made them popular in the first place, if a little less immediate.

For newcomers, 'Light Asylum' is reliant on you responding to the contrasting styles at play, accepting Funchess offsetting the crisp electro production as more than a novelty. There certainly isn't any respite on the album. With songs like 'Sins of the Flesh' and 'End of Days', theirs is a specific sound that will alienate as many as it will please.

There's not a great deal of texture, the beats often sparse, accommodating Funchess' prominence. Spanning an entire LP, though, it can feel oppressive. This goes some way to accounting for the success of 'In Tension' - Light Asylum are best enjoyed in reasonable quantities and its just as well they restricted themselves to ten tracks here.

The whole execution of the image also falters when the lyrical content becomes heavy-handed. Funchess' voice is captivating, however she operates on the border of self-parody. On the slower, more 80s-inspired 'Shallow Tears' there is an emotive quality to the song that is elsewhere suppressed, yet her stiff boom reduces it. Too often Light Asylum's idiosyncracies end up as deterrents.

Devin is indeed a New Yorker - he wrote 'Romancing' while working at a Brooklyn shipping warehouse - and is new to the UK having only just brought his material over to these shores as recently as last month. He's supported The Drums, which seems like an appropriate fit, but this debut album bears few similarities to any 21st century acts that come to mind. Instead, we have, as alluded to previously, The New York Dolls influences, but also an underlying pop and soul.

It's an accomplished effort, its punk and distant vocals knowingly scuzzy without being contrived, but as a collection of songs the album feels in need of variety. Artists are usually able to overcome this problem by imposing their personality, and though there are hints at Devin doing this (he's definitely not bereft of attitude), his charisma is not yet such that it can carry an album like his seventies predecessors.

'Romancing' begins with an encouraging confidence and swagger and as the monotony starts to smother procedings there is a shift in tempo. 'My Solitude' has Devin crooning more than at any point and it's here that the soul of the young American can be most appreciated.

Other highlights include first track 'Masochist', placed perfectly to welcome a listener to Devin's sound, his brattish intonation appealing. Elsewhere, 'Born To Cry' could be his ticket to the mainstream if exposed to Radio 1; it's a pop gem with a terrific bass contribution.

It's a shame that the lesser tracks are remembered as a blur existing rather lifelessly around the perimeters of the stand-out songs because there are some great melodies here and a unique vocal performance that somehow recalls Jack White and Lou Reed. When 'Romancing' works it's a delight. Always heartfelt, it's also a great deal of fun.

Packing a punch from start to finish the energetic collection indicates her music alone still speaks volumes, unlike other commercially viable female artists who have emerged in her absence.

The powerful grunting battle-like chants and rumbling percussion build to a crescendo in opening track 'Go', with Santigold’s signature screeching vocals, setting the album’s precedent dangerously high.

'Disparate Youth' boasts a wonderfully plinky dubstep tinged melody with 80s elements from futuristic synthesisers and Pat Benetar-esque shouts. 'The Keepers' also has that throwback nod to the era.

Electronic, pulsing fat beats in 'Fame' make it an instantly likeable song with rebellious lyrics written to be screamed at the top of one’s lungs, while it’s hard not to smile when she chirps the gentile childlike lyrics of 'Freak Like Me' - if there are any qualms it’s that the 2-minute track is over too soon.

Sombre 'The Riot’s Gone' has Santi’s shouts reduced to softly spoken decibels with Yeah Yeah Yeah member Nicholas Zinner's production evident and the spaced out vibe of 'Pirate In The Water' is one track reminiscent of her previous album’s sound. 'Look At These Hoes' also echoes her eponymous 2008 album too with a chaotic frenzied clash of beats.

Santigold has offered a brilliant piece of storytelling that takes a listener on a journey from revolt to recuperation over the space of 38 short minutes. In places the sound is jagged and raucous, empowering a listener and in others it is scarily mellow. Diplo’s influence shines through in places such as the Major Lazer sounding track 'Big Mouth'.

She definitely went in an entirely different direction with this album, but musically it pays off: welcome back Santigold!

'What kind of World' sees Benson stick to his old guns while stretching his legs into some unfamiliar territory. In unusual opening style, the Michigan born songwriter guides us in with prominent drum beats and darkened melodies, while taking us on a journey through some of his lower days. Benson has always had an art of disguising melancholy with uplifting harmonies and pop-rock driven, catchy choruses and this record is no different.

True to form, Benson’s writing style tells tales of woe from a man fighting for something he can’t have, or not wanting something he fought for, which makes for one of the most likable things about him - his being relatable. The album's first single 'Bad For Me' displays piano that wouldn’t sound out of place on an Elton John tune and a chorus that is easily comparable to Bowie’s 'Life on Mars' (one of Benson's own heroes), with the same use of twinned vocals and it’s equally as infectious.

This album touches base with several genres, treating us to an eclectic mix of sounds, straying out of his rock-pop comfort zone. Expect lashings of lightly layered electro, complimenting female vocals and sturdy rhythm. There is a real 90’s, Bluetones feel at times, while “No One Else But You” starts up like a 70’s love ballad before it turns a little 'Sgt. Pepper'. Benson draws the record to a close in an out-of-the-blue fashion with “On The Fence”, a sweet country track - almost paying tribute to the birthing place of this 12 tracked baby.

Benson doesn’t colour outside the lines with this one, and it isn’t one hundred miles away from anything we’ve ever heard before but after a third or fourth listen you’ll find yourself smitten with the record.