What it fundamentally lacks is the underlying rhythmic sensibility that adds an extra dimension to Fuck Buttons and gives them the scope to develop a track from simple beginnings to a euphoric, cacophonous conclusion. By stripping this ingredient away, Power is left with something that's often beautiful but also strangely static.

The tunes here are good enough to warrant repeated listens and when the album hits its stride, it's got a couple of proper anthems. It's not trying to be anything particularly clever or innovative--and it's fair to hope for some sort of evolution for a second album--but the trade off is a satisfying one.

It makes sense that the conceptual gravitas behind an album like this wouldn't have enough fuel for 11 songs (the originals of this scene weren't necessarily known for their full-lengths) but it certainly would've been amazing to see him pull it off. Specific, loving, authentic, but limiting, it may leave us wanting more--but there's no doubt that John Maus made the album he wanted to make.

That he has bared his soul without revealing his identity is perhaps the hallmark of the modern singer-songwriter, but don't expect him to remain hidden for too long. With emotions this strong, the mask is bound to slip some time.

We should be happy that a superstar is still committed to delivering quality LPs in an environment that frowns upon such commercially unwarranted traditions, but we should be especially grateful that that superstar is Beyoncé.

[Where We Go] is far and away the most interesting, listenable yet challenging, thing on this patchy and unfocussed album.

The record is obvious and contrived; but bass is bass, a drop is a drop, and a banger is a banger – no matter how much guilt the enjoyment brings.

It's All True, although slightly patchy, has a generous handful of these moments of inspiration.

The sad thing is, Gomez has one of the most pleasant and distinctive voices of her Disney cohorts, but she's let down by an album of weak songs that try too hard to be family friendly. Back to the drawing board for this cartoon pop star.

Foster The People make infectiously good music, don't stick to a formula and make you yearn to lie on your back in the middle of a field, feeling the hot sun streaming down on your face.

Those fiercely loyal fans will be very pleased with In Your Dreams, a pit stop in her canon of rock folklore.

So minimal and calm is much of The Harrow & The Harves that Six Horses comes as something of a shock. It displays the same studied but honest approach to American folk music that characterises the whole album but adds harmonica and, yes, handclaps!

Working on many levels: entertaining, thought-provoking, musically satisfying and yes, still pretty funny too in parts; YACHT might not be genuinely looking to save your souls, but they certainly have more to offer than most other sects that you might care to join.

Atari Teenage Riot in 2011 are as raw and self indulgent as they ever were, and while their comeback record won't seal their place in history, those who loved them the first time around will lap it up.

The album sees a succession of warm, hushed acoustic guitar textures provide an accommodating bed in which Nadler's flawless vocals can rest. The hazy sound and crepuscular feel to parts of the album recall fellow vocalist Hope Sandoval, or occasionally a more fragile and more gothic Cat Power.

It sounds odd for a genre like this, but Tunnel Blanket might be best approached with a shut-down brain, ignoring the tired qualms of originality, and just let the atmosphere envelop.

WU LYF are a band to celebrate, a DIY tour de force, and their first album deserves a place of reverence in the modern indie-rock canon.

Sometimes Simon suffers from a sort of elder statesman's churlishness or cynicism (like a musical version of Grumpy Old Men), which is not entirely appealing, and some of the songs seem a little under-developed. There is, however, enough here to suggests that new Paul Simon albums should be bigger events.

As an exercise in maintaining artistic form, it's an indisputable success.

Cabic and Monaghan deliver an album of relaxed, low-definition loveliness, and it's hard to begrudge them that.

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.

This is a fun indie pop record that will not change anyone's lives but will get you bouncing off walls very easily.

Creep On Creepin' On is a richly textured, intriguing piece of work that bears up well to repeated listens.

Light The Horizon could very well be their best album to date but, at just 10 songs in 34 minutes, it will not be enough for fans, especially the new ones that are hearing them for the first time.

The landscape has changed a lot since Gomez first broke down the door, announcing their arrival. This shouldn't take away from the fact that Whatever's On Your Mind is decent enough, as albums go, but you feel it's been preceded by too many slight returns to make new ground this time around.

The King Blues are much better when they're angry and making music to riot to.

He has been launched into the UK jazz marketplace fully formed, capable of extraordinary flights of dexterity and rhythmic trickery, yet also with a strong sense of fundamental musical language and compositional flair.

A return to form, then.