This is a fine second volume... serving further notice of DFA's production talent.

Their best album to date.

The Open Door is an exercise in how not to make a sophomore album (or any album for that matter).

[Jet] are making a career out of sounding like a Small Faces tribute band covering The Beatles in the style of Oasis.

A collection of gentle, sun-kissed pop guaranteed to be easy on the ears.

A quintessential collection of the kind of subtle contrasts and ambiguity that makes her such a fascinating songwriter.

If there were any criticism to be leveled at this album, it's that it is a little bland around the edges.

Whilst retaining the heartfelt beauty of his debut album, it is the subjects tackled on Love And Other Planets and the experimentation with which this is done that really shows Adem is reaching for the stars.

There's a darker lyrical side to the album at once incongruous and ingenius when placed in such celebratory music.

There are no earth-shattering changes to Linkous' studio-warped rock 'n' roll pastoralism. As there was nothing broken on previous Sparklehorse outings, there is little in need of fixing.

Tired Of Hanging Around is as delightfully quirky, original and catchy as its predecessor, whilst also representing something of a leap forward.

This is a fascinating record that will initially bewilder, but rewards repeated listens.

Sometimes moody, sometimes optimistic, this doesn’t feel sure of what it wants to be and instead feels a little like an Air outtakes album.

All in all, The Hidden Cameras are typical of the avant garde, slightly off-kilter art rock we've come to expect from Canada, not a million miles away from what's being offered by fellow countrymen The Decemberists or Broken Social Scene.

It is better than the eponymous debut, although not to the level that their self-satisfaction with it would suggest, and there is still a distinct lack of consistency and a feeling that occasionally while you can see who and what they're aiming at, they miss quite considerably.

[An] understated but epic album.

The world doesn't need another Elton John album, but it's heartwarming to hear an old-timer knock out such an emotional, pathos-filled document of lost loves and ageing friendships.

While far from immaculate, Cookie Mountain is the logical progression from Desperate Youth, with its conception fruit enough for those who appreciate musical innovation.

For all the colour and flair apparent on Crazy Itch Radio, and despite some genuine gems... a reliance on production and arrangement where some more killer tunes would have worked more memorably is, perhaps, an indication that the Jaxx have, down the years, simply set the bar high.

One moment I feel like I am listening to Underworld's frantic blast combined with the Blue Nile's slowly evolving elegance, the next it could be The Pet Shop Boys' sailing in the slip stream of Depeche Mode. I can't nail down the sound beyond the fact that it's breathtaking.

It's likely that the first couple of times you hear it, it may just wash over you completely. Yet give it a few plays and Mayer's unique ability to reflect on the human condition cannot fail to charm.

There's going to be a coronation very soon, and anyone who cares to invest will be handsomely rewarded by the future king.

Yo La Tengo have nothing left to prove and this allows them the room and scope to simply showcase their talents, which are many and admirable as well as being both under-exposed and under-appreciated.

As the album progresses, it becomes harder and harder to distinguish between one song and the next.

Switzerland lacks any track with even a tenth of the standout potential of Danger! High Voltage. And it's a critical absence for Switzerland, because there's nothing on this record that makes you want to hear it a second time.

Peyroux is a wonderful singer and this collection of songs is her best yet.

A surprisingly intimate, thought provoking and occasionally startling listen.

At the end of it all, you realise there's really nothing here.