The whole project is overproduced and overly slick, stripping the nuance out of the hymnal nature of the music, music that should be allowed to breathe so that it can shine.

Theirs is an easily digestible, less angst-ridden take on grunge, with a fizzing, infectious youthfulness to it. Definitely one to keep a close eye on this year.

The Big Roar has been some time in coming, but it has been well worth the wait. This could finally be The Joy Formidable's year.

Full of lyrical and musical contradictions, such as the exhortation to 'join the revolution' in Yang Yang, it isn't exactly rabble rousing - but has a strange allure nonetheless.

There are times when it feels a bit prescribed; dream-pop by numbers. But when they're at their best Sun Airway have a knack of perfectly balancing melancholy with intelligence and brutal honesty.

With a lack of tunes to come back for, maybe it would have become a better record if they weren't so focused on stardom and the charts.

Although there are times when they misfire, this is a startling first effort from the band.

In an age where musicians are constantly looking toward a more futuristic sound to portray their craft, The Greenhornes are living proof that looking back is sometimes the best bet.

Violet Cries isn't an easy album to get into, and it may well prove too impenetrable for the casual listener. They may not signal a Goth revival, but there's enough promise here to justify keeping an eye on this Brighton trio.

Seefeel is nowhere near the mountainous masterpiece of BoC's best records, but it's pulled off with a respectable professionalism. Richard D James would be proud.

Bella is a decent album, but one that is more likely to attract appreciative nods than the slap-me-on-the-patio lust that Thompson needs to raise his career to the next level.

A genre defining release and a welcome return to boundary surfing music.

The album is certainly easy to listen to but it could do with a bit more of the focus, directness and urgency of the band's EP. Perhaps, then Surf City will get the kudos they are looking for.

Here, we've got an album that kind of sums up Yorn's journey; this scruffy batch of songs is as exciting as anything Yorn's done in the last decade.

It's another step nearer the masterpiece this band are increasingly capable of delivering.

For those intransigent souls, there will always those three EPs to listen to. Everyone else can feel free to luxuriate in the wintry delights of this fine record.

Rolling Blackouts' essential problem is that The Go! Team has not found one meaningful way to evolve their sound past their critical-darling debut.

21 really is one of the great 'break-up' albums, and the first truly impressive record of 2011. Here is a timely reminder that British soul hasn't lost its mojo.

Mars has quite remarkably extracted themes from every one of those shows [The X-Factor], incorporating each into his debut, from glossy, over-sentimental ballads (Talking To The Moon) to an all-out, shameless dispatching of joy (Marry Song).

Some of the experiments here may work better than others in the long term, but it is far better that Beam is an artist prepared to take risks. His best work may be yet to come, while his writing remains vivid and evocative.

Live On Ten Legs captures 18 brilliant moments in the history of one of rock 'n' roll's most consistent bands.

A few of the tracks have a moment, usually a chorus, that you might want to play back a few times. But like Editors, taken as an album there's nothing unique, rewarding, or even merely engaging enough to be worthy of another spin.

Ventriloquizzing is a real night time album, and should be enjoyed as such--just don't expect an abundance of melodic pop hooks and you'll return for repeat prescriptions.

Social Distortion still hit as hard as they ever did - barring the obvious newfound musical influences. Anyone not yet convinced by Social Distortion probably won't find new evidence for greatness here, but for longtime fans, the six-year wait is more than worth it.

When Blunt sticks to playing it safe, he offends the least. And whilst it seems contrived to applaud an artist for sticking to his zone, this man is an exceptional case.

The Party Ain't Over may well be dogged by obvious comparisons with Van Lear Rose, but Jackson's effort deserves to be judged on its own terms. Whilst the results are mixed, its best moments are captivating.

Red Barked Tree is a proud and unapologetic album; as it shifts between sounds there's conviction in every noise and word. It's the sound of a band still having a lot of fun. And there's not an ounce of nostalgia.

On an album that clocks in at only a little over half an hour, the band's fight against the dark forces would seem to be one that they've come out the better from.