While it's far from perfect, Casiokids have done well to polish their sound, even if they've not yet quite decided what they want to be when they grow up

This is another step along that path of evolution destined to appear on end of year best album lists, and (ducks from those crazed blues-starved fans of old) it’s quite possibly The Black Keys’ own best ever long player.

A largely entertaining but occasionally baffling listen, Enter The Slasher House sadly falls just short of Animal Collective’s best work and Panda Bear’s stunning solo projects.

At only nine tracks long, Everything Is New never outstays its welcome, and is the perfect riposte for anyone who had previously dismissed Penate as a scenester who'd got lucky.

It consolidates what's gone before comprehensively, and occasionally points towards where the band might be headed.

It's a refined, seasoned effort, alternating between country-tinged folk and leisurely paced rock.

Against all the odds though - can the self-pity of a millionaire rock star ever be listenable? - it's still a compelling record.

It's a shame that Hynes' songwriting chops haven't developed as quickly as his musical skills. But this shouldn't put the brakes on Hynes' progress: Coastal Grooves might be a forgettable, minor work, but Hynes' career to date proves that he shouldn't be written off easily.

Realism showcases how effective it can be when it is allied to a dry sense of humour, a flair for melody and an ability to engage with more than a narcissistic world view.

It is different in many ways, but never neglects the melodic, vocal and lyrical genius that has established, and will continue to establish, his status as one of the all time greats.

An album filled with singles that should be instant hits.

After remaining stagnant for so long, Concrete and Gold is a mini breakthrough for the Foo Fighters. Progress, at last.

There’s potential across this record, but not consistent greatness.

It's a brave, sometimes successful, but ultimately flawed attempt to evolve and grow the band's sound. The one crime is a distinct lack of any memorable tunes, but it will certainly stand as one of 2010's more interesting releases.

For the loyal fans, this is what they come back for. For the more casual Sleigh Bells listener, this may prove one full-length album too many.

On a technical level, Wolf People are a competent outfit but, for all its repetition, it doesn’t leave much of a dent in the brain.

There is nothing of great surprise here, which while reassuring to fans does also lead to the criticism that McVie and Buckingham are just that bit too predictable through the course of an album. There is however no lack of emotional input to songs like Feel About You.

As far as exploration goes, U2 seem to have finally found what they were looking for.

There is no pandering here, with Springsteen and the trusty E Street Band rocking and rolling with free abandon and sounding like they thoroughly enjoyed every single moment recording the album.

Olympia is a rich, soulful immersive album; and a terrific return to songwriting form.

By the end of this eclectic, intense experience Skrillex has proven himself to be an inventive and well-rounded producer, but his abilities in the pop world seem more dependent on the songwriting of others.

Big Echo won't change the direction of modern music but it's such an easy, pleasurable listen that it can't fail to enrich whatever environment it's played in. Unreservedly recommended.

Everyone else can celebrate Peaking Lights’ decision to target the feet, rather than the minds, of the listeners this time round. Their reward is one of the year’s most intuitively entertaining releases.

Snow Globe, for all its charm, isn’t the record to re-instate their importance. Instead, it feels destined to languish in the oeuvre of vaguely interesting ‘alternative’ Christmas albums.

It’s the sound of a band dabbling in other areas whilst still maintaining something of their roots, and as long as they don’t stray too far from the path that they have clearly mastered then they’re a band worth sticking with as they make their sonic explorations.

The broadening of their musical palette here has offered up multiple directions for the duo, but they still retain the distinct Girlpool vibe on their most accomplished album yet, one augmented by a rare magic.

There is a sense of 'heard it before' on many of the songs on the album, but, nonetheless the songs still have the ability to rip your ears off.

There's obviously more to come, but this eagerly awaited debut disc doesn't disappoint.