How We Operate remains a very episodic album, containing a handful of great moments but no truly great songs.

The album is a 60 minute blur, and while there are brief moments of clarity there's just nothing special about Blood Money.

This is purely primal, instinctive rock and as derivative as it may be, it still sounds awash with originality.

This is a more mature, Baroque record, at times reminiscent of the best, new wav-ish tracks from The Posies' 1998 album, Success.

Not since The Strokes exploded into our consciousness in 2001 with Is This It has a band delivered such a sharp and concise debut.

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

It would enjoyably help to while away an hour's driving, but those seeking a little more punch will have to look elsewhere.

The dynamic has more in common with Verlaine's best (known) work, even if the drama isn't as fully realised.

Around is low-key, yes, but revealed to be full of those cries and swoops, flutters and chimes that are unmistakebly Verlaine, and weirdly engaging.

This is one for hardcore fans only and casual listeners will be better off waiting for the inevitable Greatest Hits compilation.

The influences are obvious, but where WRM succeed is in breathing new life into a tired template, adding attitude and intent on top of an effortlessly stylish base.

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.

The trip-hop stylings have been toned down to a murmur as traditional Latino structures and devices come waltzing gloriously to the fore.

After a while, it grates badly on the nerves.

The off-kilter choruses and softly-voiced lyrics take their time to reveal themselves.

Ultimately, if a Flaming Lips didn't include a high degree of experimentation, you'd be disappointed. Yet when they keep things simple, such as the closing piano led Goin' On, the results are magnificent.

Ringleader Of The Tormentors is the sound a man with a new sense of purpose, and in this extraordinary record he's produced a masterpiece.

The music here is a weird mish-mash of FM rock, folky ballads, and funky, poppy dance tracks. It makes for a diverting, interesting listen - but not a totally successful one.

Darker than its predecessors, the harrowing Meds is as close Placebo have come to that perfect album.

Vision Valley doesn't really offer anything new or exciting.

They're not completely terrible. Their music won't damage your ears or insult you, it's just quite spectacularly dull.

Those people who want authentic, genuine soul will find much to love in His Hands.

A few good ideas emerge, but are then repeated endlessly to the point of sheer boredom.

The Loon will stand up as one of the best albums of the year, and Tapes 'n Tapes as a jewel in the American music crown.

There's no 'difficult second album' syndrome here - Show Your Bones is the sound of a bang irretrievably, irresistibly and deservedly hurtling towards the big time.

It's an album of consistently high quality from start to finish.

His voice sounds better than ever, and while nothing here recaptures the glory years of The Verve, his songs are more focused than ever before.

Television Personalities fans will be overjoyed with this collection of new songs. Newcomers will wonder how music like this ever got recorded, but bored of Mike Skinner, might rejoice in its working-class accented good humour and honesty.