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.

Having experienced the album in its entirety, you get a better understanding of why it may have taken so long to capture, even if there are no massive achievements or bold sounds that cannot be heard elsewhere. 'Ways to Forget' is a hybrid of electronic, indie and epic stadium music that is rarely found coexisting, and it is in this collaboration of (albeit often similar) genres that they have clearly struggled.

Regardless of its gestation period, 'Ways to Forget' has been produced successfully. Second track 'Lesson no.7' is a useful demonstration of Clock Opera bringing diverse approaches into cohesion with one another. One of the record's heavier riffs is complimented by a delicate synthy swirl. In this respect, this is the closest Clock Opera get to Coldplay (to be precise, 'X & Y'-era Coldplay), and they touch on Coldplay frequently on 'Ways to Forget'. Vocally, the delicacy of Guy Connelly is more Orlando Weeks crossed with Thom Yorke than Chris Martin.

There is a patience about the album that is not best embodied on '11th Hour', a climax agonisingly built towards, the result ultimately disappointing. Also, the album is generally consistent and well-contained, but 'Man Made' provides an alternative funky sound that's audible but mostly suppressed elsewhere on the LP.

'Belongings' marks the half-way point of the album and is its apex. A pleasant piano loop is set against the once more vulnerable Connelly. This is Clock Opera's most assured construction and succeeds where '11th Hour' fails. Another touchstone for the band is Foals and 'Belongings' alludes to the best tracks on 'Total Life Forever' (take 'Blue Blood' as an example).

Things don't fall apart from here but do peter out somewhat. 'White Noise' is an interesting electronic song but doesn't fuse its quirks well with its vocals, while 'A Piece of String' and 'Lost Bouys' are not memorable, and therefore dangerously approach filler on a ten track album.

'Move to the Mountains' thankfully finds Clock Opera returning to a piano loop. It's unashamedly sentimental and evocative, which is what they seem to capture best. On future attempts, they could do worse than embracing the stadium and continuing to reach for this big sound.

The album's opening tunes create a massive build up made of consistent beats and one great thing about this album is the way Tiesto incorporated some very current chart songs into the mix. Gotye ft. Kimba 'Somebody That I Used To Know' - a big favourite – features half way through the album, and potentially, the dance sounds gave it a really creative, more happier vibe rather than the original. Coldplay’s 'Paradise' follows this, and while it was great to hear another familiar song, it seemed the beat hadn’t changed to accommodate this new record.

One huge flaw of this record is the lack of differentiation between the songs. From the moment you listen to track one right the way through to the end, there is rarely a time where you can notice the track has changed. There are a couple of points where the music comes to a complete halt before the song changes, but this unfortunately cuts the build up, or even atmosphere previously created.

If you’re a fan of Crystal Castles or Simian Mobile Disco, this is definitely worth a listen. The consistent electronic DJ style set of this album won’t be one to listen to for everyone, but if you like your dance tunes, maybe give it a whirl for that holiday spirit.

Getting to pop experimental medication does sound slightly cool, and his liver damage is a consequence of the debauched lifestyle his career has afforded him, but that doesn't make his health issues sound any more manageable. That his struggles have manifested themselves in the form of two quality albums suggests we should be somewhat grateful that not only did he survive, but that he was able to channel them in such a way.

Allowing a band the benefit of context to inform an opinion is to be critically lenient, yet you can't help but hear music of redemption and renewal in 'Sweet Heart Sweet Light'. Granted, sounds of triumphant achievement aren't exactly absent from the Spiritualized oeuvre, and familiar themes of resurrection are again being employed, but Pierce should not be condemned for playing his strongest hand.

Clearly some artists prosper in the aftermath of trying circumstances - the consensus being that the Spiritualized masterpiece is the confrontation of heartbreak 'Ladies and Gentleman We Are Floating in Space' - and so the return of grand choirs, string sections and the invocation of Jesus on this ecord is generally good news. He is thankful of his opportunity to once more document his tussles with mortality, as evident in lyrics like 'I've got no right to be here'.

The loss of health made audible is generally enjoyable, Spaceman's intoxication sonically expressed in the psychedelic sound of 'Get What You Deserve' (in which he sings 'Used to care but I took care of that' and 'I used up all my affection'), but it can also be a chore. Lyrics are delivered with conviction, but his phrasing often cloys and grates through lack of nous and subtlety: 'Sometimes I wish that I was dead 'cos only the living feel pain'. Similarly, 'Too Late' is repetitive and uninventive.

The lush production never falters though, as with 'I Am What I Am', where an array of conflicting sounds are merged brilliantly to form an engaging atmosphere. Thematically, this is not alien territory for Spiritualized, but 'Sweet Heart Sweet Light' is uplifting and beautifully crafted.

A remix of their 2011 album 'Gloss Dropp', most tracks on 'Dross Glop' are (largely) instrumental reworkings of the band's original tracks, but the melodies gradually build up throughout each song, creating a really strong peak – and we all enjoy a good melody - with or without vocals.

Though quite repetitive, the tracks have a strong, consistent beat. If we were to find criticism, it would be that in some cases, when a song, such as album opener 'Wall Street', stretches over seven minutes long - after the first minute or two you’ve pretty much heard all the track has to offer. There were points where it felt like the tracks were trailing off into tracks Ross Gellar may have made on the Friends episode where he makes experimental electronica on a tiny keyboard - albeit in a much more professional manner.

Some areas of the tracks such as 'Futura', instantly are instantly reminiscent of instrumental classics by The Prodigy and even hardcore band, Rolo Tomassi, white 'Electric' is the song on this album with the most vocals throughout, retaining much of the track's original vocals.

Rock fans may find 'Dross Glopp' an unusual listen, but for those with more experimental tastes, or in need of a good late-night chill out, this album comes highly recommended. If you’re open to new things (or sounds in this case), and can accept that this is not a 'proper' Battles album, there's plenty to love on this experimental release. Definitely worth a listen.

Aside from White, the Southern group have received various seals of approval, Russell Crowe's presence at gigs helping cue headlines, and in Brittany Howard they have a lead singer of genuine quality in the vain of Aretha Franklin and, as has become customary to cite, Janis Joplin. Though young, the quartet have dabbled with variations on their sound, dipping into roots and progressive sounds while gigging in small venues and bars around the Southeast before ultimately settling on their current, confident identity.

'Boys & Girls' begins with the groups' first single 'Hold On', and while serving as a recognisable conduit into the rest of the LP, it's also an appropriate representative of the piece; the pace drops during the forlorn title track that you wish Amy Winehouse was still around to cover, but the overriding tone is accurately captured by the evocative sheen found on 'Boys & Girls'.

Lyrically, Howard is more than competent, but while her neat turns of phrase and flourishes add a certain texture to the tunes, the album is unfortunately staid and restrained. Alabama Shakes seem accepting of their bygone influences, but their sound would benefit from an indulgence of recklesness in order to offset the overrall containment of the album.

With that said, it would be churlish to prioritise the bland aspects of the record without commending some undeniable achievements. The consecutive tracks 'Hang Loose' and 'Rise to the Sun' emerge as stand-out offerings, their quality surely foreshadowing future successes for the group. The former is positively gleeful, exhibiting the bands' measured soul. Following this, 'Rise to the Sun' showcases the chemistry of Heath Fogg and Zac Cockrell, on guitar and bass respectively.

There is sufficient material here to feel encouraged, and with Brittany Howard fronting the outfit, their star should continue its ascendancy. A self-acknowledged outcast who has suffered personal tragedy with the death of her sister, there is plenty of future material to be mined.

A final resemblance necessary to address is that of Kings of Leon. Sharing more than a geographical proximity, Alabama Shakes would benefit from building on their solid debut by choosing to eschew some of the polish of 'Boys & Girls'. At this point, sonically, they exist in the same sphere as Leons' latter work. They may benefit from heeding their impulses and embracing a more impetuous direction akin to 'Youth and Young Manhood'.