Rather then shy away behind tricksy, overtly difficult melodies or instrumentation, Little Boots has created a pop record in the truest sense of the word; not only does it fizz by in no time at all, it also doesn't alienate or discriminate.

It comes armed with a pocketful of melodies and great musicianship. But yet somehow it doesn't convince. It's hamstrung in part by its length.

Ultimately The Century Of Self won't trouble the charts and Trail Of Dead's status as a cult act will be assured. But there's enough here to keep their small group of followers very happy indeed.

The Family Jewels isn't the classic debut album that her early singles suggested was on the way, but there's enough promise here to carry her through the hype.

Just when you think things are getting a bit too glossy and radio-friendly, there's a reminder of the edge that makes her such a good listen.

This feels like something that Harcourt did for his own satisfaction, and as a little treat for his fans. There’s nothing wrong with that, it doesn’t leave a lot for the rest of us to dig into.

Yet, for all its flaws, there’s something undeniably addictive about Rebel Heart, and even the songs that don’t work so well are still a million times better than anything gathered on MDNA or Hard Candy.

At times, the music is so rousing and glorious that it’s easy to just not care about the fact that they’re heading down a well-worn path. Needham and Violet have conjured up a heavily melodic album that is as surprisingly well thought out as it is satisfyingly loud.

The Alesha Show contains at least five songs that could easily crack the top ten and while it does occasionally dip below perfunctory there's more then enough to keep any pop fan happy.

Pritchard is a revelation, and someone of real songwriting talent, not just a mere lucky soul who got picked up on the streets by Presley and told that she had the looks and just needed to supply the talent. This is a pop star who knows her roots and knows where they may take her.

While it’s a hard sell to recommend something like this in the middle of summer, those brave enough to embrace the darkness will find much to enjoy.

The album experiments and draws on a number of electronic genres to bring together something that is at times mesmerising, even if it doesn’t always hold perfectly.

Gallagher has done a very competent job of producing the album by himself, but his High Flying Birds glide effortlessly at mid-altitude rather than aiming for the heights.

Basses Loaded is something of a mixed bag. Some of it works, some of it doesn’t and some of it is just a little bit too silly for its own good. As usual though, the good far out-weighs the bad, and the Pinkus and McDonald and Warren contributions make it worth a look.

Jawbone certainly has an interesting sonic palette, but like most soundtracks it really needs the accompanying moving images to make it complete.

The album doesn’t take The Orwells to another musical level but, produced by Jim Abbiss (who worked with them previously), it makes for fun listening.

This dreamy, warm and otherworldly concoction is the perfect antidote to the grey and chilly beginnings of the impending new year.

It’s always a joy to hear a band blossoming into something bigger and bolder. Apar is the glorious sound of Delorean taking that step.

A passable release that’s half what you’d want and half what you’d rather forget from a Guided By Voices album.

If you’ve yet to indulge in this band’s output, you really ought to, bearing in mind this is now the third album in a row where their strange but endearing music hits the spot.

Hannigan is talented and Sea Sew is a pretty album. It's just if there is a lot of heart in the music, there's not a lot of brain.

This record is fun, it’s exuberant, and it’s diverse--and yet nothing sounds unnatural or feels crowbarred in.

The album dips when they try too hard not to be pop.

Be Your Own King, is above all things, a fun record.

The joyfully unabashed massiveness of it all is what makes Big Black Delta such a promising prospect.

The overall effect is one of cloying, claustrophobic one-paced idolatry that needs a bit of fresh air and a good night out.

The Black River Killer EP isn't the best place for Blitzen Trapper newbies to start--that would be Furr or Wild Mountain Nation. But, as a stopgap for existing fans, it's well worth a download or--if one's feeling old-fashioned--a trip to the music emporium.

While the concept behind Lysandre works well on Owens’ first debut outing, there is always a nagging feeling of something missing throughout the record.