Not terribly experimental then, nor especially genre-hopping, but let's not be sniffy; it's a very likeable cosmic pop record.

Valtari is glistening, subliminal and sounds as if it's balanced on a falling raindrop.

A synth heavy, angst ridden, paranoia-fuelled musical monolith filled with catchy hooks, heavy drums and nods of the cap towards Dubstep.

[Here shows] a true progression without losing any of the magic that made their first album such a breath of fresh air. Simply superb.

An album of huge promise rather than an instant classic - 2:54's time will come.

Young, yet somehow void of naivety. Vibrant, yet artistically matured.

The only maturity in their sound is towards a more ambient quarter. Elevator music not quite, but rising out of the background might be an issue.

Here Come The Bombs' is fresh and stylish and marks Coombes' finest work in over a decade. A triumph.

Plods along with an overproduced pompousness that falls somewhere between boring and annoying.

The hallmarks of Simian Mobile Disco are present - huge beats and house loops take centre-stage - but many of the tracks just feel like they're missing a vital component.

Most of these tunes are neither dog turd nor diamond. They're decent-ish disco-punk stompers sold by the vocal.

Bloom oozes simplicity, honesty and contentness. It will be a welcome sound of summer for 'Teen Dream' fans, but don't expect anything too radical.

[Loveless] not only stands the test of time, but transcends it. Songs like 'When You Sleep' sound as inventive now and would outshine much of the crop of young pretenders... Remains an archetypal classic.

The maker and breaker of neon daisy chains, 'Galaxy Garden' is a fantasia that's as lush as a chain of soap shops.

An unconventional masterpiece.

It all feels a little weary and, whilst there's clear commitment and execution, the material suddenly sounds oh so dated.

Overblown yet elegant and intimate, this is a bold undertaking; arcane, abstract, absolutely remarkable.

It's about as modern an electronic record as you can get. It's pretty much safe to say that 'Memory' won't be fading for a while.

His best work since 'Black Holes In The Sand'.

'Electra heart' is an ingloriously languid statement of Marina's demise, the final stamp of disapproval on her flailing excuse of a musical career.

Simply a superb collection of beautifully captured moments and suggests that Mystery Jets are going to be making great music for a very long time.

This record is an exploration into the synergy of reengineering technology and humanity. Let yourself be taken on the journey.

Ways To Forget is a bar-raiser--an album of intelligent synth-pop bubbling with humanity.

Undeniably beautiful. Aloof, abstract and elegant, it melds ambient expanse with pop form to idyllic, if unassuming effect.

Good, but for completists.

A surprisingly effective 21st century take on the Seventies singer-songwriter album, with tight band performances from the likes of the Dap-Kings and sympathetic production from the king of the trumpets.

'R.I.P.' is both an update on the bass explorations of restless Britain and perhaps a timeless thesaurus of blistered tones and ideas that younger producers will beg, borrow and steal from for years to come.

Driven by demons and fired by fury, 'Blunderbuss' is a turbulent insight into one man's wrath - but it rocks. Hard.

It's hyper real hip-hop made just in time for the end of the world.

Its relentless energy is utterly addictive.

Complex, thought provoking and undeniably engaging.

Overall 'Dross Glop' may please and frustrate in equal measures.

An honest and admirable collection that merits some attention.

An engaging album devoid of stagnancy.

Stuffed with bomb-ass beats and rhymes that will bang from Cali to Darlington.

Imbued with a rupturing rave-punk sensibility.

A mystical brew of funk, gospel and delta rock.

Expansive and exploratory, powerful and hymnal.

First Serve holds no fear for newcomers, consolidates their legacy, and deserves at least one encore.

[Wonky has] not improved on any of their previous work. They are merely chasing the shadows cast from their own trademarked head torches.

At times it's testing, but there are flashes of phenomenal creative genius here that are destined to manifest further.

Yes, there are 'Did she really do that?' moments... But'MDNA' is mostly filled with moments when listening to Madonna still feels like the most thrilling thing any pop fan could possibly hope to experience.

This is an album self-assured in its odd-ball-ness, yet confident enough to step out into territories typically less habitual to it's maker.

[The album] adds - for the most part - a more expansive dimension to their sound.

A quality accompaniment and memorial.

What one quickly realises is that this is an accomplished record.

This is a powerful reminder of the pair's quite brilliant lunacy.

It's far from perfect - 'Ghost Note' sounds horribly like Skrillex in places - but there [are] enough interesting sonic detours to suggest that these agitators of sound are more than just another over-hyped gimmick band.

A quality accompaniment and memorial.

Studio gloss and sanitised drums too often leave things sounding a little safe.

It's got piles of ideas, some biting M.I.A.-style hooks, and all the grimy vibrancy of a night out in Soweto.

It's a gorgeous example of an album bursting with huge, dreamy songs.

Dragged down by a excess of melodrama, with some cutting and a dash of pop sensibilities The Jezabels would have a stone cold classic.

This is an absolute treat for fans of rootsy vintage soul and a remarkable statement of intent for a debut release.

This new full-length suggests that while Nedry haven't quite found their way there yet, the journey should be fascinating.

It's a joy.

The songwriting and hyper-futurism made easy are a case of Smart by name.

A gigantic album.

More Transworld Sport than Chariots Of Fire.

Some may find 'Visions' consistently eschews the same ground of super slick, layered vocals over chrome digital structures but this reductive palette of sonics hears the album fly towards its peak of 'Nightmusic' - a collaboration with Majical Cloudz that is camouflaged electro pop that'll keep you muttering for months.

When they're good, they are glorious and their enthusiasm is infectious, this band thrive when live but perhaps there's a little too much padding filling the, er, void.

The lyrics are as sharp and malevolent as they've been in ages.

The album does lose momentum towards the end but hey, here we have a relatively new band experimenting with the boundaries of their proposed genre, with generally impressive results.

A cornucopia of ideas and influences, here, Andrew Bird has created a veritable treasure trove of a record, where to equal the bare sum of its parts is a momentous achievement.

Far from dumbed down and more importantly, rap with a much-needed happy-go-lucky makeover.

Parastrophics is mischievous and atomised techno pop for listeners who think they've heard it all.

Unfortunately, the resultant package is very cleverly constructed and yet maddeningly dull.

A hodgepodge LP bound skillfully by the starry-eyed aestheticism he's become so fond of lately.

This album is a rich Norwegian delight.

An album that could be the soundtrack to the most fucked-up cowboy movie yet to be made.

This is her strongest set of songs since 2000's 'Faith And Courage'.

Therapy? have always exuded a commercial undercurrent and it's that ingredient that makes them compelling - equally now as then.

It's a win for the bedroom door-locking crew.

At times brilliantly cold and clinical, it feels like an album created for a man-made future but with Lovett's soulful croon adding the humanity, you'll feel every heartbeat.

Melodic, melancholic, at moments almost celestial, it's simply stunning work.

They could do with a couple more uptempo nuggets like 'The Kids Were Wrong'.

As You As You Were already feels like a festival anthem in waiting. Stunningly good music.

Always interesting, and with a deft use of traditional instrumentation alongside studio trickery, Fanfarlo have created another nugget of joy.

This marvellous studio-recorded successor [to his debut album] is more expansive but no less affecting.

So many of the risks taken are either unevocative or plain annoying, particularly when the tracks are structured with so little sense of development.

Listened to while watching Georges Méliès suitably trippy sci-fi spectacle, it makes for a brief, but enchanting, experience.

It's got a sweet, easy intimacy.

Armed with rich, booming backdrops, live analogue beats and rising string flourishes, she works the ever-awkward business of injecting nods to the sensitive and self-referential expertly, her words coming across more contemplative than indulgently pious... A solid return.

Smart, soulful pop.

A sorrowful, yet captivating collection of songs, ensuring that Ms. Mitchell continues to snap at the heels of PJ Harvey in the female singer songwriter stakes.

Lee ... continues his proclivity for sonic innovation with a plethora of funky grooves and drum lines - with no loops in earshot. AM's psychedelic guitar licks, basslines and vocals underpin an overriding '60s vibe.

Take it as deep dance for when there aren't enough hours in the day.

Mightily impressive.

An exhilarating and ambitious collection, it should bring Field Music a deservedly larger audience at last.

This is a confident, bold and captivating record, and one which is dominated by that beguilingly ragged voice.

She may not take life too seriously, but when it comes to making divine music, Beth means business.

The over-riding impression is that this is a tired, conservative and weirdly insular album.

This sixth album by the band is a well-rounded proficient release.

Its cleverness and humour burst like springs from an overstuffed rococo couch.

Honest, uncompromising, raw and restless, it's a rock album of some distinction.

Bold, colourful and eclectic, 'Have Some Faith' displays a vivid musical palette showcasing a band growing in scope and stature.

It's more a relic of the past than a record of the future.

A quirky and sincere collection.