It's frequently fantastic, weighty, clever and emotionally involving, but strangely polite, and lacking in a sense of overall purpose and direction.

Truth is, to cook up such joyful nonsense probably takes a helluva lot of effort, but it's the Beasties' gift to make this seem easier than falling off a mountain bike, and an infinite amount more fun.

Although Stronger with Each Tear may not be one of her greatest works, it ensures that Blige remains as relevant as any of her more recent contemporaries.

Taken together, Frisell's run of Nonesuch albums has been one of the most consistently excellent bodies of work in recent decades. Now, Beautiful Dreamers extends it further. The future looks bright for this trio.

The Gate is an impeccably stylish album that coaxes jazz from unusual sources.

It might sound like a cavalcade of cliches on paper, but with punchy couplets and shimmering production, Trey Songz here furthers his reputation an artist head and shoulders above many a lover-man peer.

It's great, don't be mistaken; but trim a little of its fat and it goes from a fantastic listen to an unforgettable one.

In short, then: another fantastically enjoyable album from an artist whose modus operandi, above anything else, seems to be ensuring his audience is having the best possible time. Many a self-absorbed peer should take note.

In order to get that these three people from Bordeaux and a drummer from Berlin are the genuine maverick article, one just has to grab a listen. And be confused. And delighted. And frustrated. And appalled. And strangely aroused. And then listen to track two.

There's little coherence... but the best moments are breathtaking.

It certainly meets every expectation, albeit without stretching far beyond anticipated designs.

Bad Blood is a really gratifying debut that feels like a solution.

Perhaps glossier and a touch more refined, Circles nevertheless stands up very well on its own terms, and complements its predecessor not in spite, but precisely because of their similarities.

This is their best album for years.

Far from a cynical money-maker, this is the unwieldy outfit that unanimously improves those essential runners: harder work to start with, but providing great rewards at the finish line.

They've also striven to make their soiree as all-are-welcome as possible. If the latest serving of salad days for indie has to start somewhere, it could do a whole lot worse than here.

It's a delight.

Both as performers and songwriters, these guys have upped their game, and Head Down puts them well ahead of the pack.

It is, simply, a thing of beauty, its hook quotient the highest of The Decemberists' discography.

This band's gradual edging over the precipice of mainstream acceptance has been richly deserved; now, everyone should hear this dragon roar.

A worth-the-wait second LP a decade after the New Yorkers' celebrated debut.

It assures us all that Meshuggah can still bury their copyists while leading the way when it comes to intelligent, thoughtful and undeniably brutal heavy metal.

An extraordinary and stylish album.

Heaven is a record with the power to grab your heart, like an ex-lover you just can't shake off--no matter how many years you've been without them.

Love & Danger takes on verbal Picasso forms with the reliable regularity that has made him a cult figure.

Profoundly thoughtful music that's moved on from drone metal beginnings.

The state of the art recording ensures that this is another unmissable feast of song from an artist seemingly unstoppable in her continuing quest to present something new to her worldwide audience.

Overall, The Orbserver… is lots of fun for late-period Perry fans, and will appeal to Orbologists, too.