The vast majority of I'm New Here sees Scott-Heron looking back on his life. The result is remarkably honest; as he puts it at one stage, "If you have to pay for what you've done wrong, then I've got a big bill coming".

Heligoland doesn't touch the perfection of Blue Lines, but few albums do. It is though a return to form from one of the real pioneering bands of our age.

These are songs that can sashay straight past you if you're not careful, but producer Stuart Matthewman (whose work with Maxwell sounds equally poured over) slips in subtle moments such as the twinkling percussion on Morning Bird and the slow-burn backing on opener The Moon And The Sky.

Toro Y Moi puts intelligence and inventiveness into a youthful music genre dumbing itself down at an unduly early stage.

This is a special album, make no doubt about it, casting its spell as it makes both a moving memorial and an example of raw talent. If techno with a soul is what you're after, then look no further than this.

He remains a formidable wordsmith, and a fast mover by the looks of things. However his career develops, it will be crucial for him to keep a tight hold of the bewitching elements that help make not just his debut, but also his latest, a refreshing listen.

The Whitefield Brothers have somehow succeeded in folding the world in on itself with Earthology. The sounds on this disc are mixed together in such a way as to be totally surprising, totally new, and yet completely cohesive.

This could well be Midlake's masterpiece, which is saying something considering the esteem in which The Trials Of Van Occupanther is held.

It's not a bad album, it's not a good album, it's merely an alright album and that's the real problem.

Although Storytellers' qualities imbue it with sufficient class to shine forth from the background (in much the same way as Air's Virgin Suicides score, perhaps), its gentility and decorum are so consistent that this is an LP that needs to be sought out.

This album is only worthy of more than one star for provoking a reaction. That, at least, is better than being merely another dull shade of musical grey. But only marginally.

As much as Unicorn would benefit from having Solo or Salt Air included, it's a testament to the quality of the majority of the other tracks that they've still managed to make a solid debut.

Romance Is Boring is a triumph, a glistening, breathless success. Musically and lyrically Los Campesions! are a rare treasure of a band at the peak of their considerable powers.

Ultimately it's an incredibly rewarding listen, even if the self-observing anxiety that's writ large throughout means it doesn't quite reach the lofty heights to which its creators have bravely aspired.

This is effectively Hebden's Balearic album, and while it may not please everyone with its relatively conventional outlook and lack of experimental tendencies, few will be able to deny it as a thing of beauty.

Somehow, all this variety works well more often than not.

Realism showcases how effective it can be when it is allied to a dry sense of humour, a flair for melody and an ability to engage with more than a narcissistic world view.

Corinne Bailey Rae has completed a remarkable comeback, against titanic odds, and for that she should be applauded. But to do it with a record as powerful as this is extraordinary.

This release was unusual for the band in that it was accompanied with the lyrics in the liner notes, however, so the words that are sung, muttered, chanted and whispered are available if needed, on this most beguiling, dream-like and ultimately just-out-of-reach release.

At times arresting, at other moments it's let down by some odd choices in the production and mixing. There is enough to hold the attention and to draw the listener back.

Scout Niblett is an acquired taste, but so many of the best things - olives, anchovies, nipple clamping - are. And if you have ever been tempted to acquire a taste for Niblett, The Calcination..., along with This Fool..., would be a good place to start.

It's a moment to rejoice on an album that just feels flaccid in comparison to the youthful debut.

The results might not always work--the dreary "Disturbed This Morning," for example--but when they do, it is almost always exciting. By no means is this a classic album, but there are plenty of worthwhile moments to be had.

Their sonic departure won't be radical enough to put off fans, but the ultimate feel is familiar enough not to persuade any detractors. They may have taken a step forward, but they're still on the same street.

Its youthful sense of noise and joy and wonder are heartening, its way with a tune addictive. Would that all summers were as warm, as happy and as big-hearted as this music.

Even Spoon's nice sounding (albeit always obtuse) lyrics can't make up for the generally flat music here, and with Transference, Spoon's undeniable swagger has taken a considerable hit.