The music they make is frequently stunning.

She could drop the dodgy cover of ‘Norwegian Wood’ and probably should, but that misstep aside this record’s an engagingly oddball, enchantingly out-there piece of avant-pop that could, with just a little more exposure, be celebrated as one of 2008’s best leftfield albums.

Not classic Pearl Jam by any stretch - let’s not get carried away here--but enough to kindle at least a little optimism for whatever comes next.

This is a realisation, and an affirmation, of Paramore's musical craftmanship and potential longevity.

It’s the sound of someone getting the kinks out of the system rather than incorporating old influences seamlessly into a new sound. Still, the final verdict? Very decent.

Their second full length album, Sunshine--which had its US release back in October--wonderfully demonstrates the finesse necessary to play noise rock.

Fucked Up Friends is a blissful reminder that the practice of absorbing rather than regurgitating influences--innovation and invention--is alive and well.

There are plenty of strengths to Shulamith, not least that it chiefly shares its blueprints with its spellbinding debut. But in expanding its horizons, it dents the assured sense of identity which made Give You the Ghost so utterly enrapturing, and reverses the dichotomy of maximalist-emotion alongside minimalist-music.

One of the highlights of their career.

This album is chock full of more cast iron monster tunes than any mainstream rap LP this century.

Even with these small blips, Peggy Sue have made the transition to a darker and bolder sound with ease.

Those wanting significant progression will find Surrounded By Silence mostly lacking.

The narrative doesn't get in the way of the tunes, and the choruses are pretty versatile as anthems go.

CLPPNG makes a sterling argument for the intersection of noise and hip-hop tropes.

He hits heights that few artists of this genre can reach and although this isn’t maintained consistently throughout the record, the heavenly levels of joy and bliss he’s able to impart prove the purity of his talent and the worth of his experience.

The only potentially bad thing about Edwards' style is that many of the tracks on the later half of the record tend to all bleed together.... That said, 'Back To Me' demonstrates Edwards' prowess as a top lyricist.

We Will Not Harm You is well-crafted enough that the looping repetition is pleasing, with the dominant bass thwacking out grooves which just play on and on.

Ultimately, Cheatahs haven't just upped the ante with Mythologies, they've created one of this year's most definitive albums and probably increased their own burden of expectation tenfold.

There is a classic aesthetic that underpins every facet of these recordings. Everything is calculated and nothing has been left to chance. So sit back, and fully immerse yourself in a sonic experience unlike anything else released this year.

Laibach has done little to diminish their brilliance on a loaded, thought-provoking, and immeasurably entertaining release.

At 14 tracks Dancer Equired is at a glance their second shortest record, with the added bonus that the cleaner production job makes subtler variances more discernible and the record as a whole a more varied experience.

An enjoyable offering from a genuine treasure.

Look beneath the surface sheen, then, and you'll see gratefully receive This Gift as the best, most complete, Sons And Daughters long-player to date.

Unfortunately, by stretching the album to an unnecessarily long 16 tracks, ‘A Bigger Bang’ suffers from its fair share of non-starting filler.

As a starting point for Jim Noir, 'Tower Of Love' is a tasty entree that merely whets the appetite for the first album proper.

They're one of only a tiny handful of bands currently using retrospective influences from the past to create something relevant and unique for the present and beyond.

For all its stylistic diversity--bluegrass, bossa, jazz and electro all get a look in--and voracious internationalism, Floating City is a work with an identifiable centre.

When they do finally depart after a handful of shows later this month, Woman's Hour find themselves in the fairly unique position of having a small but well formed catalogue of work that's near flawless. As a result, Ephyra is a fitting epitaph.