Elements create a thick, clotted atmosphere which is enveloping but sometimes almost claustrophobic.

By trying to interpret a whole new landscape and atmosphere, Howling Bells have compromised their strengths in an awkward attempt to force themselves into a new style.

It's the most uniquely sublime, meticulous and heroic 40 minutes of 2011.

A mighty voice of formidably expressive multitudes, here given room to roam, and to roar.

Smart but not showy, clever but never at the expense of a catchy hook, this is 'indie' par excellence.

It's not exploring new musical frontiers, but Resolution is an eminently listenable heavy metal album.

Their sense of adventure seemingly knows no bounds, yet when, after six leisurely minutes of jazz-rock noodling, 11.11 suddenly segues into a passage of Cuban folk singing backed by a lone drummer, the strong whiff of pretension might hang rather too heavy in the air for some tastes.

It's brilliantly realised, thanks to Del Rey's extraordinary delivery, her ability to slip from deep-toned haughtiness to breathless ecstasy to velvety vamping – often in the same gorgeous melody.

Everything is bound by a vocal that speaks to the soul... There are moments here, details of songs, which cause the throat to close, the eyes to widen.

One of the most rewarding albums he has made in recent years.

On the evidence of this impressive debut album, [Howard] is a gifted and immediately involving singer-songwriter.

A batty, compelling, smart and unusual soundtrack.

There's a distinct valedictory tone to his customary musings upon life, love and the spirit, with one track titled "Amen" and another "The Darkness". But if it is to be his last communiqué, at least the old smoothie's going down swinging.

Be Strong, in short, is superb: a joyous amalgam of disco textures and dancefloor stylings which never fail to bring a big grin to your face.

The component parts of this record prove that indie rock may be 'dying' commercially but still sounds alive and kicking.

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.

In producing a focussed follow-up that completely transcends its litigious backstory, Chairlift have summoned a watertight case for the defence with Something.

This is an impressive debut and a solid step toward a more realised identity.

Ross and Reznor receive A grades for effort, and commendations for their execution of this most-malevolent of soundtracks; but Dragon Tattoo is such an exhausting listen that one might well switch to the music from Arthur Christmas before the fine, Ferry-penned finale comes into view.

Everything adds up to an unexpected and intriguing album.

He's delivered a sincerely meant yet curiously staid and pedestrian tribute.

The group's melding together of dance music, metal riffs, punk energy and vocals that sound English rather than Californian make A Flash Flood of Colour not only a compelling effort, but an appropriately named one to boot.

Repeated listens to Let's Go Eat the Factory reveal a paucity of the pithy lyric and classic riff on which he's [Pollard] built a deserved reputation.

An album of thoroughly contagious, albeit fairly derivative, Strokes-flavoured gutter-rock.

Ester is a collection best suited to after-hours reflection, a glass of red in hand and the TV playing only static.

This gem of a long-player – both sleepy and steely, mystical yet rooted in very real and universal themes – deserves all the plaudits that will hopefully meet its release.

It's spirited enough, neatly sequenced, but perhaps lacks the ingenuity to rework its influences into something that feels new.

Clear Heart Full Eyes [is] a work of understated beauty.