The accessible groove of Flower and party-time refrain of ...Candyhands make for just two more standout moments on this terrific album that appears to achieve the impossible: making a breakup sound like just the most fun you could possibly have.

Celebration Day is an opportunity to witness the power and the glory of Led Zeppelin, quite possibly for the last time, and they certainly don't disappoint.

An indispensable guide to an iconic band.

It's the performances and songwriting, however, which invite most acclaim.

Bawdy, smart, big-hearted and mischievous, Mermaid Avenue is simply all about a personality that is rich with life.

It is Coleman's sax, Jonathan Finlayson's trumpet, Tim Albright's trombone and Jen Shyu's voice that make the strongest impact.

The four-piece have made a follow up that makes their beginnings busking on the South Bank seem like a myth propagated by publicists. Receiving a nod of approval for their pigeonhole-defying venture really has emboldened them.

It's easy to revel in Moffat's bleak wordplay and his everyman observations, but behind the black clouds and bitterness there are reminders of love and tempered optimism, encompassed by The Greatest Story Ever Told.

This is a full-on, joyous, positive album that makes you feel like celebrating.

I’m New Here is an unlikely but triumphant return, packed full of sadness, experience and an underlying feeling of someone making peace with their mistakes and regrets.

Their debut album will probably not be a Shins-esque licence to print money for the label, but it's a minor triumph as a grab-bag of punky jams.

The major achievement of this record--produced by Slipknot desk-jockey Ross Robinson--is the broadening of Dananananaykroyd's sound, prising it clear of the numerous shouty young bands to have followed their lead.

These sharply-targeted psychedelic guitar eruptions are well-contained, and always tantalisingly brief.

The Computers deliver a wholly satisfying sound that won't go stale any time soon. Mainly because there's so little substance to it, but in this case that's no bad thing whatsoever.

A treasure of tremendous emotional resonance and focus from the rising country singer.

Blood simple and bloody minded, their half-hour self-titled debut is a welcome lurch straight for the jugular.

The Magic Place, splendidly, isolates the listener, cuts them off from the world around them.

This is agonisingly personal music, poured straight from the heart--just as punk should be. It's a bonus that it's also frightening catchy.

Enjoy Kaleidoscope Dream for the rarity that it is: an unerringly consistent, very good pop record.

Ozanne has here delivered one of the most perfect after-party collections in recent memory.

This is scintillating fare, albeit rock of a variety that can dizzy itself to the extent where a point becomes dulled by the practice--not that it matters, because the poise is so polished (when it's not drenched in feedback) that the band's directionless bombast is a most pleasing soundtrack to all and any whatever-the-weather escapades.

It's an impressive feat, and a genuine reminder for those bemoaning pop's current state that challenges can still be made as long as you never stop asking questions.

Some might find all this misery, whether it's stripped back like Sweetness or as explosive as She's Building Castles in Her Heart , a little masochistic for their tastes. Those, however, who have followed Hinson's career since 2004's debut, The Gospel of Progress, will be relieved by a compelling return to Gothic American themes which repays their early conviction that he is a unique songwriter capable of converting lyrical gloom into musical glory.

With a wealth of subtle and understated performances by the supporting cast, including wistful flourishes from pianist Geraint Watkins, whose on-the-money keyboards have graced albums by Nick Lowe and Van Morrison, this is no unthinking pastiche or smirking parody.

With Are the Roaring Night they delve deeper into the glittering soundscapes that have become synonymous with their sound; sacrificing something of the warmth that marked their previous work, they nonetheless emerge with a thoroughly impressive, coherent whole.

While nowhere near as immediate as Johannsson's string-based albums for the 4AD imprint--IBM 1401, A User's Manual and the sublime Fordlandia--The Miners' Hymns is far more complex in its use of dynamics while succeeding totally in its evocation of time, place and message.

Although not unanimously blinding, Dream Attic is replete with the kind of deft flourishes and considered wordplay that fans of the singer will be more than familiar with. Chalk up another triumph, then.

The full band which appears on The Lion's Roar enjoys the rare achievement of being saccharine-free, and serves to highlight the sisters' brilliant captured-on-tape chemistry.