You'll find more wit and invention on a solitary track by Ethan Kath and Alice Glass than you will on this depressingly retro and lumpen homage to a scene that wasn't even all that back in the day.

In each of the 21 songs there is something to draw from, an instrumental colour to enjoy or a sentiment with which to relate.

If you've approached Herbert's music before you'll already know to expect the unexpected. If it's your first time, use all the surround sound you have and revel in the power of free musical speech and a fantastic update of timeless jazz styles.

Rather than offering reinterpretation, Malin sounds like an annoying guest at a house party, who despite all efforts to hide the guitar has found it and insists on playing a disparate bunch of songs much to the annoyance of everyone else, none of whom quite have the heart to tell him to stop.

Skeletal Lamping flicks across channels like a man with an itchy trigger finger who trigger finger is actually itchy, but it excels in making a brilliant kind of sense.

Yet, at its simplest and most sedate, Bookish's new work is utterly beautiful.

Anyone already in love with tracks such as 'Good Arms Vs Bad Arms,' 'Backwards Walk' and 'Poke' will probably enjoy hearing these live versions, and for others this will serve as a good primer and incentive to go back and discover the original recorded versions.

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.

While this isn't the daring brave leap forward that was whispered about when Spiralling was released, it will no doubt prove another multi-million seller for the trio from Battle.

It may not contain anything as seismic as 'First Wave Intact,' from their debut "Now Here Is Nowhere," but the band's self-titled third album reasserts the Secret Machines identity whilst revealing a fragile underbelly.

Gloriously free of filler, it would be an easy and enjoyable task to eulogise every track on Changing Of The Seasons but it seems a little brash to over-stamp opinion on such an individual and immersive listen.

six songs may only run to seventeen minutes, but for the devoted it will be a case of quality overriding quantity.

The 16 tracks here aren't just duplicate recordings--with sudden new depth we are able to complete an emotive, triumphant musical triptych.

They rarely take a step out of their neat little country twinged pop-rock corner. This is a real shame because these songs belie a musicianship that can produce work much greater than this.

The slower songs do have the effect of balancing the album. Even some of the upbeat tunes, usually The Little Ones' strength, are sometimes in danger of veering from endearing into cloying.

More than anything it's just a relief to see this rare talent back from the brink, still, as always, one step ahead of the game

To that end, and overabundant allusions to The Beatles aside, Dig Out Your Soul is a feat in its own right.

Give Oh Ohio time--there's more than enough here to breath life back into a resurgent band.

Futuristicaly Speaking is by no means a perfect album, at times it seems overlong and in places too similar in tone, but it is a solid album that should see Yo Majesty making quite an impression.

The Spinto Band are genuinely highly impressive musicians, they're still as creative as ever, cramming riffs and off-kilter rhythms into their songs like clothes into a brimful suitcase, but creativity isn't always synonymous with good music.

This is an adventurous and beguiling record that eschews the abrasiveness of Björk's more esoteric albums in favour of inviting the listener to explore its deeper reaches alongside the artist.

They are like nothing you've ever heard before and everything you one day hoped you would, too strong for the charts and too corrupting for MTV.

From this you'll gather that Ferndorf charms and frustrates in equal measure.

Maybe not an essential purchase, but if you're already counting the days down until the official third album The Crying Light is released in January, this should more than satisfy you.

It is, more importantly, a fine record of a dynamic live performance by a hugely influential band who transcended their punk origins.

Whatever El Guincho's debt to Panda Bear, the decision to keep Alegranza! in the mama tongue lends it a genuine other-wordliness unlikely to be found in the well-traversed topography of American music.

It's tuneful, well-written and beautifully played, and throughout there's no getting away from a Coldplay-esque earnestness.

All of this is packaged up in black and white watercolours commissioned for the album and lyrics booklet from Antony Gormley. The music is just as beautiful.

While Those Dancing Days may struggle to last in the easy come, easy go world of indie pop, let alone stand out amidst the current glut of Swedish imports cluttering our shelves, In Our Space Hero Suits proves they deserve their five minutes of fame.

It sounds a bit like they're trying too hard, trying to be too clever in their pursuit of "technicolour joy".

While this may not be his finest solo moment (that honour still belongs to his debut, "Rockin' The Suburbs"), if you want some intelligent, moving and addictive pop songs, you can't go far wrong with Mr Folds.

Surprisingly though, Snowflake Midnight, if it is heard widely outside of fan circles, may win the band more fans than their more straightforward output.

Koushik has produced that rare thing, an album with which to relax while admiring its musical content.

Victory Shorts is the perfect addition to their oeuvre, building on 2006's Schmotime with the same irreverence and deep-seated emotion that turns a good record into a great one.

Does You Inspire You has a few high points, most of them hidden in the quieter corners of the album. In its more strident moments, though, it's just plain puzzling.

If you relax into it, and not expect the same experience as seeing Steve live, it's pretty good.

Quite what has held back the milieu of meandering morons that make up the music scenes mid range, mid class, middlemen is probably this intelligent and creative leap; crossing genres and keeping your opus open and fresh.

The Hawk Is Howling is a record that shows Mogwai's lips to be sealed, but speaks volumes about their depth and ingenuity.

This is an album which feels like it was made quickly, not because of artists reaching a terminal velocity of creativity, but to take maximum advantage of an audience who may not be there this time next year.

Deep Science should enhance TVOTR's reputation as one of the finest, forward-thinking bands around, along with fellow Brooklyn acts Animal Collective and Liars.

Unless a couple more of these tracks manage to repeat the success of 'When I Grow Up' and stick on commercial radio, this is an album heading straight for the bargain bins.

It's not the most instantly winning of albums, but its rewards become evident after repeated listens, its subtleties revealing themselves like an unfolding paper fan.

Overall, though, the music is worth wading through everything else for.

A short and not a little peculiar gem of an album then and one that proves that on his day Hegarty is full of great ideas.

For better or worse, Thievery is ultimately content to stick to the script, busting out another batch of worldly background noise perfect for a post-party VIP lounge in Ibiza.

I was so looking forward to hearing Monkey: Journey to the West, as I'd totally succumbed to its charm in the theatre, but I'd advise anyone approaching this CD to do so with caution, especially if you've not seen it in its glory in the theatre where it belongs.

This is a collection of instrumentals that, when fully peeled back, reveal beauty within, and are fit to grace many a chill out collection. It's just a shame that they stop frustratingly short of revealing more personality, which vocals would have achieved.

As excitingly promising a solo debut as any.

We'll settle for saying it's a great record. Full stop.

They sound nice, look nice but you'd be pressed to find any substance.

It's gentle enough to be background music, lively enough to be worth listening to for the sake of it, and certainly an impressive achievement for a 21-year-old's debut.

Edgy and highly innovative for the most part, Pivot do have some so-so moments too. But overall this is good stuff; they are trying to push the boundaries of music and, as a result, they sound like nobody else.

Setting out their stall with the strength and affirmation of the birth song 'Bubbles,' seemingly inspired by the arrival of Booth's first son, James gather themselves with an impressively solid stature.

It is a glorious statement of intent from one of pop's most misunderstood characters.

The album's not for everyone, but if her sound is to your taste, then it will prove a rewarding, delectable, necessary thing: one of this year's most consistently interesting albums.

Nelly's latest offering is hopefully the beginning of the renaissance of an artist who most definitely was starting to look guilty of selling out.

This is something you're either going to like or really hate.

Overall then, Chunk Of Change is several steps short of greatness, but the debut full-length (due later this year) should be worth a listen.

Which brings us to the nub of what makes Death Magnetic such a resounding success. Death Magnetic could have dropped 15 years ago and been a logical conclusion to the "Black" album. Today, it emphatically brings Metallica full circle to an intriguing afterthought: what next?

The fact that they've managed to record an album so strong, consistent and downright impressive is proof positive that, after much promise, The Subways have come of age.

However, this album feels like it marks the beginning of a return of form, and it's great to hear his voice again on tunes that don't make you work to the point of sufferance to get any enjoyment out of.

It seems a return to first principles has done Calexico good, and returned their music to a raw emotional state.

Words are used minimally and to great effect.

Though it stands up well enough on its own The Stand Ins does feel like a follow-up, rather than something completely new and fresh and forward looking, and it is not as instantly gripping as The Stage Names, it takes longer to wind your way into your mind.

One thing this record definitely lacks is variety. With a work claiming to hold "the band's most varied songs" it's disappointing and surprising to hear so little diversity.

They are not evidence of a group wallowing in their own experimental pretentiousness. They are the finishing touches on an already admirable piece of work.

Those with a more perky, fast-paced feel like Loosen Up, the lovely We Are Young, You're The Light, Show Me Your Life and the almost singalong album closer Oh No were more successful. Fortunately, these outnumbered the slower tracks; overall Lunglight is an enjoyable release.

This feels more polished product and will no doubt have a broader appeal as a result, but it is a treasure of a thing and the more people that hear it the better.

The Family Afloat reveals itself as a record that is promising, enchanting, and imbued with a wry optimism that at times is tangible.

While the record confirms the outfit as a fully-fledged trio, the vocal numbers bring Mount forward as a decent front man with the necessary charisma, and enough variety in his voice to bring decidedly varied results.

This album is, however, a huge amount of irreverent fun, and provided you approach it with that in mind, you'll get plenty of enjoyment out of it, especially when turned up loud at a party.

Add in the highly personal genesis of its composition, easily audible in both lyrics and melodies, and the listener's satisfaction is complete.

That Lucky Old Sun is a brave but failed attempt to add a new chapter to the ongoing story of a pop legend.

Unfortunately there are too many moments where the pace flags, however, and Lavelle, while not exactly running out of ideas, falls back on the familiar ones.

This ought to keep fans going for a while, and does at least confirm that The Chemical Brothers remain at the top of their game even now, fourteen years after their inception as the Dust Brothers.

This isn't really an album to analyse in any great depth, more to nod to endlessly, ideally with a drink in hand and a clutch of friends arrayed around, in staunch defiance of our grey-skied British reality.

This being Roots Manuva there's a lyrical gem in pretty much each song - and this being Roots Manuva, a lot of them are intensely personal observations.

Neither virtuosic nor devoid of a sense of pitch, he achieves something equally important to both in terms of significance--believability.

The music is happy and content, the sound of both success and the comfort of being established enough to make an album entirely for yourself.

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.

Golden Animals do a remarkably impressive job of conjuring up just the kind of image they set out to do: floppy hatted, Afghan-coated drop outs singin' blue-eyed Blues as the acid gradually seeps out of their veins and into the foothills of the mesa.

Perhaps one of the telling strengths of LAX is that despite all star guest appearances from the likes of Ludacris, Travis Barker, Nas and the aforementioned Ice Cube it is very much The Game's album.

The pedigree of the singles can't be disputed, and they both hit the bullseye--the trouble being that the nine tracks that follow are too often found on the outer reaches of the board.

With songs that are inspiringly teeming with originality and ideas, Courtcase 2000 is as exciting and mind expanding a record as any this year.

As things stand, a lot of people are going to fall in love with this new young talent, and her ambitious and creative debut. But Lykke Li is likely to stay a cult curiosity for now.

Write off Jaguar Love at your peril; this is one of the best albums of the year so far.

Merging the sounds of space rock with an element of trance and a smattering of early Velvet Underground experimentation, the group ends up with an enticing album that holds a fresh mix of sounds.

Lindstrøm manages to achieve a palatable yet ambitious record without ever resorting to indulgence, not forgetting in his view of large forms to look closer and focus on the minutiae.

What impresses most is the flowing musicality, the invention, the subtlety of many of the effects.

Her songs are similarly sparse and fragile, with some astonishingly mature lyrics framed by beautifully pretty melodies.

The music they weave always, without fail, stays just the right side of pretentious, playing with past conventions and current trends, showing how clever they are without showing off.

The memorable melodies expressed by Chadwick, drive Eyes Wide and Accidental Anarchist passionately along, and album closer Fight Or Flight is undoubtedly a gem in the rough of an otherwise largely underwhelming effort.

So, the jury is still out on Conor Oberst. His loyal fans will be slightly puzzled by the easy going roll of the music but rewarded by several choice lyrical nuggets, while his critics will point out that Dylan had already released Bringing It All Back Home, Highway 61 Revisited and Blonde On Blonde before recording John Wesley Harding.

So while they aren't 'middle of the road' yet, their rumble needs to find a direction of their own before finding their speed limit.

Commercial considerations aside, this is a finely crafted and lovingly realised album that Halstead should be proud of, and which deserves to finds its way into more homes than the usual coterie of 4AD fans.

As their sound comes into focus again, and their inflence is found to be more powerful than we first thought, there are mixed feelings on this latest Stereo MCs offering.

The later half is really rather spectacularly ace, in an unexpectedly grandiose way.

Pay no attention to the hype--after all, it didn't do Vampire Weekend any harm--and sit back and listen to one of the most purely enjoyable albums of this year.