A powerful, graceful album.

By spending most of its brief running time in an uptempo, breezy mode, Sees the Light more than compensates for its relatively modest arsenal of hooks and similar sounding choruses.

A fine album which might be too much of a period piece to truly be the 'sound of 2012' or somesuch, but has a greater chance of making Sophia Knapp into a minor unit-shifter than Lights or Cliffie Swan ever did.

While it perhaps doesn't achieve all it sets out to, it is regardless an intriguing, immersive combination of old and new.

You feel there's meaning to be sought for by the listener in Roberts' songs, but they simply aren't inviting enough that you'll want to open up the gates and step inside.

Although it still occasionally feels like there is something distant about Ekstasis, something yet to thaw (chalk this up to its chilly aesthetic and Holter's wilfully eclectic approach to her art), it is a genuinely enthralling listen.

Over the course of OF Tape Vol 2, souless-ness has curdled into banality.

Transverse is an exhilarating collection that becomes a new listening experience on every subsequent hearing.

Koloss, however, is a real triumph of its genre: inventive, surprising, pleasingly punchy, unashamedly aggressive with just enough shade, tone and melody to balance the raucous but impressive production.

It's Madonna's conservatism that drags her latest record down to the status of a ragtag collection.

Prepare to bow down to the new Queen of Singing Sad Piano-Based Songs.

Mirrorring have created an album that never coalesces, in which it's difficult not to remain conscious of its parts, wonderful as they may be.

Setters of trends, they will not be, with this offering. Providers of mindless, chaotic R&R, they most certainly can be.

Nostalgia doesn't often feel as good as this. Prepare to feel both spooked and studious.

Between the Times and the Tides is advertised as his first 'rock album' which makes it sound more abrasive than it is, although it packs more of an aural punch than Thurston's latest Beck-helmed Nick Drake tribute album.

Sadly, moments of well executed originality are thin on the ground, as indeed are examples of the band effectively channeling the transcendental shoegaze of their established contemporaries.

The remastered first disc makes up for the lack of any truly juicy bonus material, being that it's a great album in itself, and is more than worth the price tag.

Yes it may be comfortable and familiar, but Silent Hour/Golden Mile is never samey.

Regrettably, there's little substance to take in here.

It doesn't seem content with just being an enjoyable album, which makes it impossible for this listener to be content with its failure to live up to its own hype.

Weller seems enthusiastic, upbeat and genuinely inventive across the whole LP, with only a couple of minor missteps throughout.

Older, wiser, maybe a little less caustic in the execution - but as still sharp as a knife.

Father Creeper is most certainly not a perfect record, the ride is a trek back in time to the fairground, riding the dodgems, and getting shunted, lumped and banged-up as sounds collide.

It's to Mercer's credit that Port of Morrow, which could have so easily veered off into soulless corporatism or self-indulgence, manages to remain nothing less than both a universal and personal joy to listen to.

Although not quite the timeless classic its creators had hoped for, Prisoner is a solid debut that bears all the hallmarks of a bright future for The Jezabels.

The Clearing is a woody, creaky, but ultimately gorgeous folk record.

A record that has clearly been crafted with great care and a terrific talent behind both the songwriting and the production.

The end product is stern, frigid and heavy minimalist-techno, which also happens to be pop as ...: urgent, impatient, sculpted, immediate, and incident-packed.