Those who cheered as protestors smashed the original windows of the beautiful building of the Supreme Court in December 2010 will find much to like here. But just as importantly, those who winced at such a sight will not be put off The King Blues by stern and outre sentiments, so long as they come expressed in music that is as poised and as palatable as this.

The fabric of the songs seems imbued with joy, and it's testament to the quality of the songwriting that you don't feel alienated by what are incredibly personal lyrics. It's an all-inclusive love in, basically, and all the better for it.

There is plenty on Golden Xplosion to suggest that Neset is well-equipped to be massive in the future, provided he can build on the strengths of this album and avoid repeating its worst excesses.

Paisley's at the top of his game – but he's capable of better than this.

A collection of mesmeric, epic stillness.

While the reins of pomp have certainly been reined in somewhat, it's hard to shake the suspicion that Suck It and See is further evidence that Arctic Monkeys are still Britain's best guitar band--albeit one that'd be even better if they ever decide to truly lunge into the unknown.

While White Denim have a tendency to enthusiastically overcook things, ultimately it's their sheer audacity--allied to some strong tunes--that makes D hard to resist.

Driven by Simon's uniquely percussive acoustic guitar, and with his world music leanings embedded naturally rather than overtly, this beguiling album shows him to have lost none of his ability for finding universal truths within the guise of introspection. It's a profound statement from a master of his craft.

One brilliant rock song follows another, defiantly leaden in construction but stalwart in performance. Rarely does such simple rock sound so satisfying.

Throughout this is an album of sufficient character, quality, daring and charm to ensure that its creator's unlikely march to the mainstream continues without interruption.

There's more than enough here to satisfy aficionados of offbeat, fiercely inventive pop music.

That it's the track here [Ice cream] that most closely resembles Battles with Braxton in the fold is evidence enough that this band is missing a vital organ. Sadly, it would appear to be the heart.

Opting to produce themselves on this latest studio album happily hasn't dimmed their offbeat charm; it's a tuneful, diverse and often witty addition to their discography.

Kaputt is a genuine classic, unlike anything any other artist will release in 2011.

Despite the genre signifiers there's more than enough personality of their own here for Cults to transcend both their blog hit wonder and the timeworn sound they lovingly homage.

A sixth album of exuberant, glammy pop and driving Southern-fried rock.

As such it is an understated and subtlety magnificent pleasure.

An engaging diversion down a road which might be worth investigating further.

With these perfect nuggets of hormonal pop, Pete & The Pirates may not be courageous or sophisticated but they will make you want to jump around the room --even when you're empathising with Sanders' woes.

Essentially, this is some of the most consistent songwriting to come from Australia since the loss of The Go-Betweens, and some of the most arcane performing available anywhere outside of Arcade Fire.

James Murphy's (of LCD Soundsystem) decision to sign this shape-shifting creature to DFA Records makes perfect sense given her blend of art, electronics and mischievous humour, and while it's an undeniably alien world Rostron inhabits, it's an altogether convincing one.

Honest lyrics backed by off-kilter and unexpected production from Kwes, Micachu and Joe Goddard of Hot Chip give this album this album a rough, unique edge. An impressive statement of a debut, Gob is just as good as the moment we first witnessed the fitness.

Fans of the man whose Brill Building work helped shape the pop landscape of the mid-60s can enjoy this interesting collection: 23 mono tracks from the period where Diamond was only beginning to make his name as an artist in his own right.

As with most things on this record, it's a thoroughly engaging ride.

Crisis Works is accomplished, polished in all the right ways (it sounds good without the grit at the heart of the songs becoming obscured), but perhaps lacks the soul that a musician's primary project might be instilled with.

Spoonfuls of sugar might help Murderbot's version of juke to go down, but Women's Studies still contains more than enough dirt to drive Mary Poppins insane.

Sure, it's a little disjointed, a little indulgent, but when Boxcutter's best beats connect with welcoming synapses, the effect is like mainlining fizzy pop on a summer's day: brilliant, bright, jumpy and jovial.

Please enjoy someone actually putting a bit of effort and imagination back into pop, and keep the sneering and lazy comparisons in check. Not that they can take anything away from what is, simply, a marvellous record.