Join The Dots is a very good album, derivative maybe, but much more than the sum of its parts.

This might not be the album that sees them break through, but it is a fine body of work from a pair of musicians embracing the thing they love most.

The only problem is that, at 20 tracks, it’s far too long, and while there’s nothing particularly bad here, the weaker tracks seem a bit like filler.

Homosapien at its best creates a refreshing sense of vitality in a genre often defined by its synthetic nature.

Now there is an extra dimension, an extra frisson, for like their contemporaries this year (Erasure, Depeche Mode) OMD are bringing some raw feeling to the studio.

While Wonderful Wonderful certainly isn’t The Killers’ best record--or even their second best--it is a welcome return to form after some time in the wilderness.

Gardot's wistful, breathy voice belies her youth and the unobtrusive competence of this album effortlessly belies the difficulties she has striven to overcome.

Though the band sound in reasonably good form and the album shows how much Burgess has developed as a singer over the years, overall the songs themselves are just not strong enough. The Charlatans don't touch us this time.

Rudimental have already shown on their tremendously successful singles that they have that special knack for making exciting and diverse pop. Sadly on Home it is a knack that we hear too little of.

It’s well crafted and well paced, and features more than enough discordantly catchy riffs (at least two corkers in Beat alone) to sustain the listener’s interest. But for all that, it’s an album dusted only lightly with genuine greatness.

While Any Port In A Storm is unlikely to make a superstar out of Dermody, it definitely feels like the arrival of a new cult hero.

It is at once assured and endearingly self deprecating. It has an open hearted appeal that just might make Withered Hand a household name.

Sleepy Sun have managed to come up with an album that is beautifully entrancing, and doesn't encourage the listener to go to sleep before the mid point.

Nite Jewel has blossomed into a something not too far removed from a genuine pop star. Yet you feel One Second Of Love is a promising step forward rather than the finished article.

The Bachelor sounds like another attempt by Wolf to perfect something that he got pretty much right on his first album.

Haines is a compelling performer, and there's certainly more than enough decent songs here to satisfy the faithful who may have been put off by the lacklustre Fantasies.

Toro Y Moi puts intelligence and inventiveness into a youthful music genre dumbing itself down at an unduly early stage.

The balancing act that any group has to perform in successive albums remains askew here. In trying to bring outside influences into their specific sound, Ratatat have gained an appreciation for novel sounds, even if they don't fit in well.

The record is blitzing, happily ludicrous, and plenty of fun for a while, but at the core there's Gaga, singing beautifully but clouded by all the readymade pop around her.

There are times when it feels a bit prescribed; dream-pop by numbers. But when they're at their best Sun Airway have a knack of perfectly balancing melancholy with intelligence and brutal honesty.

Bing & Ruth have always provided poignant and moving listening experiences, but Species takes a different turn, and fully reaps the benefits.

Franz Ferdinand have done what they didn’t quite manage on Tonight, combining their more experimental leanings with their irresistible dance-punk sound to create right thoughts, right words, right action, right album.

Empty lyrics are all part of the game when it comes to creating pop music--and Lady GaGa looks to have hit the jackpot here with her blend of sassy attitude, metallic beats and sharp, incisive songwriting.

Clocking in at under 25 minutes, Do You Wonder About Me? is just shy of feeling like a fully-fleshed project. But with bags of potential, it’s an album that makes you excited to see what self-confessed “slop pop” exponents Diet Cig choose to do next.

If there is a flaw, it is that some jams are more eventful than others, as seen on the busy but ultimately inconsequential Daylight and Tear To My Eye featuring Eric D Clark and Beirut‘s Zach Condon, but this is something of an occupational hazard and the creative spirit is clearly heard throughout.

Does this sophomore effort, then, live up to the expectations created by its predecessor? In most ways, yes. In others, perhaps not.

Those who have followed Warp and Nightmares On Wax since their inception will be reassured that all is well in both camps. If anything Shape The Future is one of George Evelyn’s finest achievments, and is all the more affecting for its refusal to be dimmed, keeping a zen-like stance in the face of adversity.

The Papercuts project seems destined for bigger and brighter stages on the back of Fading Parade; a fine testament to Quever, jack of all trades, master of some.

It is arguably one or two songs too long, but otherwise AudioLust & HigherLove is a strong pop music record – disposable, yes, but with a songwriting sensibility and deep house production that means it works on several levels.

A little more focus and coherency would've made it a great record rather than a good one, but as an intriguing curiosity it is another excellent addition to Albarn's ever-growing list of projects.

The Pains are unquestionably good at what they do. It's just that the dreamy Scandopop thing is rife, and this band don't really bring anything new to the table.

This works as both a confident and assured introduction as well as an ideal record for the long, hot days ahead.

This is another fine album from Grohl and company.

A painstakingly constructed and constantly challenging work, Mirror, Mirror requires considerable perseverance to allow its unorthodox appeal to slowly seep into the listener's consciousness. Its sheer relentlessness and absence of hooks will undoubtedly deter the less adventurous, and runs the risk of alienating and confusing some of their existing fan base.

After six years away this pasty Americana comes as a big disappointment.

This is a brave but captivating debut album, exploring the inner parts of the mind, and proves a very strong addition to the Brownswood canon.

For a debut album it's remarkably consistent and confident, and promises great things to come for the future.

At the moment, though, it appears as though this is one twee-pop album that simply doesn't pop.

There is a fascination in listening to Mark Everett, the kind of fascination that goes with picking scabs or blisters, or the strange inspiration from feeling someone somewhere is going through a worse time than you.

Side project, collaboration or fully fledged act, Neon Neon have a Mercury nomination under their belts--and now a follow-up LP that, for better or worse, peddles the same worthy wares.

Admittedly, the band's past catalogue sets the bar high, but Forth is an achievement, especially when considered in the context of so many failed attempts by others to return after a period of inactivity.

They make the point that Condon has the talent to move in any direction that he pleases, but the reliance on smart ideas means that they only occasionally create a similar emotional impact to the work that got us so excited about Beirut in the first place.

Utterly compelling.

As a rather short album, it impresses without feeling like a definitive statement from the group, but contains enough interesting ideas and beautiful moments, as well as a great demonstration of both experimentation and pop-sensibilities in equal measures, that it leaves one excited and intrigued about what Teengirl Fantasy might make in the future.

The use of electronics, violins, trumpets and a whole litany of instruments at times is difficult to take in, and may indeed be too far a revolution for some.

Out In The Light is a blustery, at times thrillingly unstable record, and comfortably matches the standards Pierszalowski achieved with Port O'Brien.

It says much for Felice's talent that in only briefly showing his scars he can still make a commendable album.

Mi Plan is a mildly diverting listen that doesn't tarnish the brand and helps re-connect the artist with a core fanbase.

What Regan has unquestionably created is a landscape of wide-eyed, sincere beauty that is very much his own, delivered with a poise that few of his contemporaries can match.

More often than not, most of the songs feel like they're only 75% there; so close to really coalescing into something special.

Winterval is intermittently graceful yet often slight and inconsequential: an enigmatic album that is unlikely to linger in the memory for long.

It might not be wholly successful but that could be due simply to our unfamiliarity as listeners with music that manages to be different in an instinctive way.

Second album Open features a significant amount of fine-tuning and finessing and as a result sees them operating at a markedly higher level.

Some may find it all a bit too intense, while long-term fans may be put off by the departure of their earlier, more pastoral sound. However, their ambition cannot be faulted, and when it comes time to look back on the band’s career, Vide Noir could be seen as a pivotal moment.

Had they been performed by any other band, these regularly mawkish and sorrowful lyrics could have tipped the album over into an joyless torrent of petulant whining but the Danish rockers’ mish mash of catchy hooks and reflective self-awareness skilfully instil just the right amount of vitality so as to prevent that outcome from happening.

Easily her best since Made Of Bricks, and it’s a beautifully satisfying conclusion to what has been, by all accounts, a turbulent few years.

There’s a lot of nods and winks to other artists, while Antonoff’s own personality remains hidden. Every track on the album is nicely played and produced, but there’s nothing that really stops you in your tracks.

Veronica Falls have carved into a niche that will always have a small but loyal following which will baffle those on the outside. Newcomers would do well to do their homework first, and enjoy this debut with a thousand points of reference.

It’s a lot more ambitious and experimental--more often than not, anyway--than previous releases. When it stumbles, it’s merely fleeting. There’s no doubt that their reputation is intact.

If it weren't for the big three singles... and the habitually contagious Golden Skans standing well above the rest of the album, there would be nothing new or interesting about Myths.

There's nothing here that's going to surprise anyone in the slightest, but this is sleekly produced, brilliantly written and expertly executed radio fodder.

99¢ is slick, soulful and full of the imaginative use of reference points that she is so accomplished at bending to her will. It’s by no means as immediate as Santogold, but its pleasures are plentiful if you give it the time it deserves.

Delphic have started 2010 as we all hope it will go on - with superb music.

This adds up to a solid album that presents as an immediate difference to what went before, even if it does not roam too far from the grounds of its creator’s past. That certainly doesn’t mean it can’t be enjoyed. Electric Light is a thoroughly immersive ride that shows James Bay has plenty of ideas brimming in that now hatless head.

Kweller's talent as a pop-rock songwriter is plainly evident, but despite the consistent cheeriness that's offered across Go Fly A Kite, it never manages to shake off the feeling of being merely an appetiser for a main course that never materialises.

You can slice up its track-by-track constitution--a gently sung, interesting turn of phrase here, an evocative chord progression here--but it is a beautiful, haunting creature as a whole, and a poignant testament to the power of simplicity.

It seems as if You Know Who You Are is a shrug of the shoulders, a ‘let’s get on with it regardless’ statement instead of letting themselves get hung up over near misses and spluttering to a mid-air stalling. Instead they’re very much still soaring amongst the clouds.

It’s an album that comes from an older, more mature band than the Jimmy Eat World that yearningly whined on Bleed American, one that has refined their melodic craft.

With razor sharp, expletive-ridden lyrics and tight beats aplenty, it's undoubtedly Odd Future's most accomplished album to date.

One of the best albums in North America last year and surely one of the best of 2006 for us; Live It Out is sinister, intelligent music for sinister, intelligent people.

So, from bed-bound broken foot casualty to creator of the finest debut album of the year in just over a year.

While the aesthetic of Lust For Youth’s music may be dated on a surface level, good pop songcraft tends to become timeless once people have got used to it. And this self-titled album of theirs is full of this, tunes that work their way into the listener’s head and successfully strike a balance of being nostalgic without being derivative.

Beautiful Thing works so well because it reminds us of that fact without losing its own emotional resonance.

How Did We Get So Dark? has plenty of appeal, possibly just edging the debut, and is the sound of a band enjoying their niche, but how long that can last has to be the concern here.

I realise that bemoaning the inclusion of crowd noise on a live album is a bit pointless, but when it detracts from the enjoyment of the album then it's a valid grumble. But it's a minor issue.

Not all of it works, but enough of that which is tried comes off to make it an interesting addition to a substantial career.

Yes, it’s true, the music stands up more than well by itself. But this is an album designed for listenwatching. So listenwatch.

To produce songs that listeners want to stick on over and over again is the holy grail, of course, and although the whole album doesn’t manage to maintain this level, the highlights could stay with you for a considerable time.

Hyperdrama is a well thought through album, bringing a real shot of adrenalin in its outer sections. The suspicion may be that Justice have applied just a bit too much studio gloss to the end product, but that should see it work brilliantly in the live environment. One thing is for certain – Justice are more than happy to take the French dance music mantle and run with it. Two decades in, their beats are as strong as ever.

From beginning to end Circular Sounds feels familiar. And with only one track (just) over four minutes, Stoltz holds true to pop convention in length as well as arrangements.

Overall, it’s hard not to admire a band who, a generation on from their heyday, continue to craft their undemanding but eminently listenable songs with passion and charm.

Optical Delusion is messy, and it certainly doesn’t display the focus of the Hartnoll brothers’ career highlights, but you’re never more than five minutes away from a musically inspired moment.

Vicious Creatures is a sometimes uneven, but never less than intriguing, listen, and kicks off Lauren Mayberry’s solo career in impressive fashion.

While they may not be the finished article just yet, there is enough promise here to suggest an exciting future ahead.

Long-term Rilo Kiley fans may take their time to warm to Under The Blacklight.... This sees them develop their sound and mature with it.

Adventures... is an accomplished album, one which makes the most out of not over-complicating things.

At times, he runs out of ideas, but that shouldn’t detract from the fact that he is clearly going somewhere--even if that might be more often than not the past.

Whilst it hardly breaks new ground, either generally or for Barlow as an artist, Brace The Wave offers further evidence of Barlow’s core talents.

Yes is a super-concentrated hit of everything there is to enjoy about the Pet Shop Boys: danceable yet everyday pop, with irony behind the warmth and warmth behind the irony. One of their best.

Concrete And Glass is a fine piece of architecture, typically classy and emotive while providing some very necessary warmth and light for the January darkness. We may well pine for something new from Air, but in their absence this will do very nicely indeed.

Together is certainly far-reaching in its ambitions, and it often seems close to collapsing under the combined weight of all its collaborators, but it never falters, despite its dangerous dance. The New Pornographers have taken a risk in fussing with their sound, but in large part it's paid off beautifully.

Given it's gestation, it's fairly amazing that Baby 81 wasn't stillborn. To find it's kicking with such vigor is little short of remarkable.

There’s a truly startling album lurking somewhere within Moore, but she’ll need to start taking a few more risks for that to be unleashed.

Ultimately, Rain is slightly too smooth to count as a complete success.

For all its flaws--it’s overlong, and sometimes seems too keen to be meta and self-referencing--it’s full of energy and often makes for an exhilarating listen. It may not quite measure up to the heights of 1989, but whether she’s Old Taylor or New Taylor, there’s enough here to demonstrate why she’s still one of pop’s brightest pop stars.

Arm's Way is a masterful and intricate offering progressing from their debut to create a new vision mixing a banquet of sounds and tempos to create an accomplished peace of musical craftsmanship.

The album is brief, almost EP length, and doesn’t end nearly as well as it begins, but Spell My Name still features some great tunes and is proof that Toni Braxton’s smooth alto can grace a trap instrumental just as well as a Darkchild production or a slow jam.

Sadness may remain her true love, but when she flirts with other emotions, the effect can still be magical.