None of this could be called pushing boundaries, but each production is a striking piece of craftsmanship.

This record is essentially a minor curiosity, akin to the publication of the band members' childhood drawings--occasionally interesting within context but unsatisfactory and fruitless in itself.

In among these sporadic highlights, however, are numerous slices of tossed-off nonsense.

At various times uplifting, rocking, refreshing, and sweet, Oceania makes a return to the live arena a suddenly desirable prospect.

It's unclear whether Pop Etc have branded themselves as an out and out dance pop band, or if they remain an alternative, slightly niche group, masquerading as a clichéd pop group.

Peaking Lights' music is slow to reveal itself and unfolds gracefully, at its own pace.

Listening to The Cherry Thing is often a jarring and confusing experience, but just like the uncompromising individual pursuits of Neneh Cherry and The Thing, that's the whole point.

The Idler Wheel… is a really incredible album, where Apple has quite cleverly developed musically in just the right way, creating something utterly distinct and different to her earlier work whilst still retaining all the characteristics that won fans over to begin with.

It's a pleasure to listen to, over and again.

Do Things represents an admirable sonic development for May and co. Packed full of songs to wile away summers to come, it feels like an undiscovered soundtrack to summers past as well.

Alexander Tucker muscles up to his psych-folk antecedents to posit himself as an artist of singular merit, as comfortable within the realms of conventional song as well as the abstract sound world.

Trouble is an album of bewitching treasures, equally at home in the bedroom or in the throes of the most intense club dance floor--an extremely impressive debut that introduces TEED as one of the UK's premier electronic artists.

In what has already proved to be a strong year for breakthrough artists the duo have gone and raised the bar once again, and in doing so, created one of the most essential albums of the year.

Long term fans might find Worship not as visceral as previous outings, whilst those intrigued by occasional flashes of melody might find themselves beaten into submission by the album's oppressive nature.

Haines is a compelling performer, and there's certainly more than enough decent songs here to satisfy the faithful who may have been put off by the lacklustre Fantasies.

It is the best album start-to-finish from Hot Chip, one that continues to show their deft range--from infectious disco hits to soulful ballads.

With mystique to spare, it's a record to cherish.

Ultimately, it's an accomplished record that makes all the right noises (in the most literal sense), but it lacks the final wow factor to push it into true greatness.

Choice Of Weapon sees The Cult back to doing what they do best, which is producing slightly dark and remarkably catchy rock 'n' roll.

If you've any common sense, plot a listen soon.

The Bravest Man In The Universe is a success. It doesn't re-invent Womack as some sort of lost beacon of soul, nor is it an ersatz look at the career trajectory of a legendary figure. Instead the album posits Womack as a restless spirit, ever expository, invigorated and emboldened by age and experience.

For a debut effort, Amanda Mair's record offers both startling clarity and cohesiveness, a cherry picked smattering of so many inter-related pop elements, here weaved together into a lustrous tapestry of accomplishment.

This debut is a polished effort which manages to balance both sweeping synth pop with euphoric indie anthems.

Even if you weren't expecting much from everyone's favourite four part harmony-peddling pension queue, this record would be something of a mixed bag.

Nite Jewel has blossomed into a something not too far removed from a genuine pop star. Yet you feel One Second Of Love is a promising step forward rather than the finished article.

Could very well be one of the soundtracks to the summer, with their heavy use of percussion setting them apart from other similar Brooklyn acts. Unfortunately, there are times when Manifest! feels muddled.

At 10 tracks, Endless Flowers gets in, does what it does best and gets out again, leaving a stunning corpse with beautiful cheek bones.

This is a dreamy, sometimes queasy synth pop record with a good amount of bite beneath the wash of keyboard calm.