Sees The Light is a decent solo effort, but for the casual observer it might be worth saving your currency for the next Vivian Girls record.

This is an astonishingly good album, and the fact that it's a debut makes its stylistic and thematic consistency, as well as suave swagger, all the more to be recommended.

Its title track, 'The Capitol' and 'Fenix' are all pleasant enough but lack any real dynamic and verge on the point of becoming fillers. Those are only minor niggles for an accomplished album though.

While the album is laced with enough venom to keep existing fans happy, we defy anyone not to stamp their feet and fist pump come track nine 'I Don't Wanna'.

A reminder of the echoing, scatter-brain drumming trips of the good old days.

Most definitely one of the best albums of the year so far.

The inevitable result is a crisper, more polished sound.

The Shape Of Things is another compelling collection of clever electronic pop.

There is one very commendable thing about 'No Gods' that cannot be said of many of the revival bands of the moment though – Sharks seem almost entirely free from pretension; for that reason alone the album will garner respect and stand the test of time with punk fans.

'Between The Times & Tides' is a beacon of craftsmanship and invention coated in [a] marvellously empathetic collection of pop tunes.

Mixed Emotions' has a track for every mood without ever sounding in the least bit forced or contrived... Finger clicking good.

This is a fine piece of synthpop that is a good addition to the collection of any fan of this genre.

Featuring some fairly rudimentary drumming, and predictable solos, this is the musical equivalent of 'painting-by-numbers'.

An album of shifting, shimmering textures that is both a spaced out exploration and the perfect pop album.

Kiwanuka's approach may be old fashioned but his is a sound full of warmth and subtlety.

Complex, and replete with glitches, slow beats and breakdowns, In A Dim Light is as captivating as 'Condors', yet with an evident sense of renewed direction and focused calm and quietude.

It's punk rock by the numbers.

A rare collection of songs that succeeds in both evoking the ethereal and forcing you to reach for the volume button.

This is pop music at its wittiest and most concise, yet for all its maturity and refinement, it's hard to believe that an album so youthful could be made by a group of forty-somethings.

Delicate duets, bluegrass string strumming and some of the most genuinely emotive lyrics you'll hear all year combine to produce an album of rare and beautiful quality.

Mouse On Mars are returning in triumphant and rapturous fashion, both sealing their reputation as relentless innovators while basking in the glory as beacons of inspiration.

This is a good start but, after losing half of their line up, you get the feeling Jonquil need to add a bit more character, and a bit more bite, into their new pop noise.

Where Asher Roth left house-party hip hop (or just got a little high and wandered off) Chiddy Bang pick it up but bring a whole new focus, a pop-sensibility and a very nuanced delivery.

Rise Ye Sunken Ships is a monster of an album, rich in credibility and one that is often raucous, but never noisy.

Ex Lives just sounds like a band going through the motions.

Their third album feels singular, apart from its predecessors in spirit, for better and worse.

Much like a pungent stilton, this is difficult prospect to recommend or advise against, especially if this is your first experience of Xiu Xiu. Dip your toe in the water, though, and there are bits to love.

They promised a great leap forward, and this isn't it.