The more you listen to this record, the more it falls into place and traps you under its spell.

There are enough moments on here to convince that Woon is a very special talent.

The lingering sense, though, is one of repetition. Now the novelty of her songwriting has worn off, she needs to find a whole new language again.

On the whole Start And Complete is a singular and fearless album that conveys significant emotion, rewards repeat listens, and shows what can be achieved when a band's approach to music is defined by bravery and vision.

This collection of tracks lacks that vibrancy and spark needed to linger long in the memory. There are a few sunny moments here and there but ultimately it's disappointingly flat.

While The Golden Record is far from perfect, and occasionally falters and fails to make the impression it should, there is much to recommend here.

This album shows that Times New Viking seem more likely to be comfortable in front of a crowd rather than a mixing desk; it is worth an enquiry but with a little more application it could have been much better.

The jury will be out for a long time while they argue whether this is dance, classical or jazz but they're sure to deliver a thumbs-up for this far from amateurish collection of tracks.

So a collection like this is a timely reminder of what they've achieved; from the cold, hard sounds of 604 to the futuristic disco of Witching Hour, Best of 00-10 is a comprehensive over view of endlessly interesting band.

This Modern Glitch is a decent album. The problem is that The Wombats have a reputation as a better-than-decent band. This new offering isn't enormously different to what's come before.

Goldberg, though, ought not to be penalised for his occasional switch of stance and self-leniency: this is an album that may not grace millions of record collections, but may well enjoy classic status in those that it does.

While the album's last two tracks proper--Go Deep and The Fish Of Little Thoughts--may well have the restive ear agitating for greater variety with their continued gossamer construction and dreamy folk structuring, they leave little doubt as to Snowblink's assured grasp of naturally beautiful melodies formed simply, patiently and organically; Long Live as a whole is the creation that proves it.

There are one or two new ventures into the unknown, but by and large, The Pigeon Detectives haven't made enough progression from Emergency.

This isn't showing off with noise like post-rock can sometimes be accused of; it is, rather, intricate knowledge of how a leaderless band uses its flexibility to craft rises and falls that consume and envelop, making it an essential addition to anyone's list of 2011 records to own.

When you have the knack, as this band most clearly have, of infusing your music with such full and rich emotion, then it makes sense to use that as your primary method of conveying meaning.

It's great to hear this timeless artist so relaxed and enjoying herself. Perhaps if she continues her collaborative relationship with The Siss Boom Bang, future recordings could be even more special.

In a year that's already been rather special for great albums, Merrill Garbus may well have produced the finest record of the year.

Somehow, the expected drama or crescendo never quite arrives, and we are left with an overextended auditory shrug, sadly emblematic of the rest of this strangely unsatisfying album.

It's an album that is truly surprising. It's clever enough with the homages to properly capture the spirit of the period they are referencing, but smart enough to not ever just pastiche it.

It will be intriguing to see where Cass McCombs goes next. A little more light and shade wouldn't go amiss, yet even his dark side is eminently loveable.

In Ponytail, that long-ago art project seems to have spawned the real thing – a band with an imprint and sound all of its own, with much of joy to share around.

From this irrepressible debut, we can deduce that Katy B is a genuinely exciting UK urban vocal talent, the like of which we haven't seen in some time.

While existing fans are catered to generously, the band have brought their sound on in leaps and bounds; an achievement that is testament to Mount's evolving songwriting prowess. They don't come much better than this.

The Constant Pageant--particularly its first half--does indeed rock, and not just by the standards of folk music.

Wild Divine finds Diane attempting new approaches to production and arrangement and should perhaps be seen as a transitional album. At the moment, the performances from within her comfort zone remain the most effective.

Given the impact of All Our Ends, that may be intentional - but it means the album is best experienced as a whole rather than in snippets. Then it can fully reveal its power.

An electronic album that manages to sound intimate, late-summer warmth turning to autumnal melancholy, and a cartoon band that suddenly seems a little fragile.

Chopped & Screwed is a thoughtful experiment at best and a quasi-misfire at worst, but either way it demands to be analyzed--which alone makes it worthy.