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.