This comes highly recommended as an appetiser.

Certainly no misnomered record, Extra Playful sounds more fun, excited and full of joie de vivre than anything else in Cale's extensive discography.

As a debut, as a mark in the sand, Gracious Tide, Take Me Home is an endearing and beautifully drawn modern folk record

What In Dust lacks in sonic breadth, it makes up for by bringing richness to its palette of oppressive mists and dread-filled shadows.

Rather than functioning as simple b-side fodder, the four tracks which shape Earth Division are all totally different, yet just as essential as the album from which they were excluded.

Perhaps the highest praise of Lights Out is that it portrays the gamut of romantic and sexual longings and emotions of adolescence with the honesty that you would expect from someone who recently experienced them, but with poise, melodic nous and a musical maturity that doesn't forsake youthful vitality.

On the Water is surely one of the most unconventionally beautiful records of the year.

As a representative document of the band's formative years to the present, Creatures Of An Hour is an astounding debut that can only bode well for the future.

Whilst Koone's recycling of chiming keys and bell like samples throughout each track might seem lazy, it in fact makes Wander/Wonder effective as a cohesive listen, and that's how its euphoric atmosphere should be heard.

It's a worthy album for consideration should you find yourself browsing in a record shop of a Saturday afternoon and fancy something at once familiar and different.

This is Willner's finest record yet, a composition of effortlessly gorgeous, technically fantastic, genuinely awe-inspiring music.

Whatever happens with the technology and wherever the arguments over music, art and commerce drag themselves to next, it's these songs that are the triumph here.

For the moment, In Light is hamstrung by its creators' raw ambition.

It has a lot to offer around the edges, but is difficult to truly connect with at its core.

It grows, fades and breathes like an album should, it provides enough singles to make it the envy of many a record, and it also demonstrates what a perfect stem the original TKOL was.

Yes, it's enormously derivative, but it's also frequently exhilarating.

This album sounds more rounded and more complete than her previous releases; the sound of an artist truly ARRIVING and ready to play.

While it might not be a consistent classic like Heartbreaker or Gold, there's flashes of those earlier triumphs from Adams' career on Ashes & Fire.

For all the puritanical spoilsports trying to confine Toro Y Moi to an unfortunate genre box, Freaking Out has the chops to confirm him as an interesting artist in his own right, rather than as the product of a semi-coherent micro-scene.

The first thing to say is that the remastering is pretty good: it's in no way a record that needed remastering, but it's definitely one that suits being remastered.

The way London transcends genres and creates a blend between hip-hop and post-rock is certainly commendable, but there's nothing here that we haven't heard from TV on the Radio to save this album from sounding just a little bit silly.

Too often, Scott and his band are guilty of lily gilding.

A step forwards, if not a giant leap.

This emotive disc balances a hushed intimacy and vast expanse that places it in a unique sonic terrain.

It's a bold, brash, varied, slightly confused dance record with flashes of hip-hop.

Alec Ounsworth has responded to the challenge by writing a bright, pithy record stuffed with delicious tunes, not only in the vocals but both guitars and (particularly) the keyboards, and generally all at the same time.

With Trans Love Energies, Death in Vegas do well to avoid such pitfalls, instead creating an album that is musically and thematically filled with space, both roomy and outer.

Nearly every track is catchy enough but for an act in the business of cheap, good time thrills, most fall too far from the bountiful tree of old.