While Street Horrrsing may never scratch the surface of the mainstream, it is going to make an indelible mark on all those interested in ground-breaking underground music

As a document of its time, then, Stainless Style is remarkably successful. Taken on the base level of being an enjoyable pop album, it also triumphs handsomely.

For fans of "St Elsewhere" and general mash-ups of styles, The Odd Couple will contain a few splendid tracks, a few decent offerings, and a few duds.

Sonic landscapes shift around behind Deschanel across the length of the album; as tunes introduce elements of pure indie pop, old timey slide-guitar country, rattling tin-ally piano, and light rock, the singer keeps her cool and holds everything together throughout the course of Volume One.

Few other modern musicians are as adept at taking such a tried and tested genre and making it utterly their own.

This is an album that definitely deserves your interest, one of the best that New Weird America has thrown across the Atlantic in a long, long time.

There is much to admire here the more you listen, the more it will grow on you.

There's nothing complicated on this album, but then when did things ever need to be complicated?

The Unfairground is a short and sweet collection of ten tunes, rich with strings, original ideas, lovely melodies and a whiff of what used to be.

In essence Superabundance falls short of being either super or abundant.

Go Away White is an unevenly inspired valediction.

Real Emotional Trash fails--beautifully and melodically, yes, but it fails nonetheless.

Autechre albums have been famously challenging in the past, but Quaristice is an easier way in, and impresses with its structure, its continued innovation in texture and in the way every sound remains vital, even in the course of a seventy minute album.

The result is warm, dreamy, evocative and beautiful, a worthy successor to 2005's self-titled debut and an album to savour under the late evening sun, once the summer arrives.

After a couple of listens it reveals itself as Goldfrapp's most subtle, affecting and rewarding album to date.

The songs lack the emotional pull of the duo's debut. Seeds of greatness are still evident, but this direction just seems like a dead end.

Lust Lust Lust is a record that explains why sometimes guitars need to be turned up to their max and faced into amps, and why humans need to get down and dirty.

The Golden Age is a bewitching and thoroughly addictive record that proves that even when they push themselves out of their comfort zone, American Music Club can still come up with a classic.

Disjointed maybe, obtuse certainly, but listening to this album is continuously rewarding, new images, new storylines, and new moments of disbelief at Darnielle's lyricism on every listen.

Flock is a massive step forward musically. Paul Noonan's superb lyrics now have some powerful musical backing, throwing in all kinds of references from disco to funk and good old-fashioned rock.

It's rare to be so gushing about a debut album--yet after living with this album for a few weeks, you'll be hard pressed to find any flaws.

Some of the songs are a little dull and a few of the lyrics can be a little embarrassing, but the better tracks make up for them.

It also feels like they've become a little too cosy in their favourite slippers, so that while Dive Deep is a pleasant album, it swims in familiar and safe waters.

When you're listening to Some Racing, Some Stopping you're caught up in a safe, warm, fluffy little world. It's only when you get back to harsh reality you realise that Headlights haven't really written much in the way of hooks.

At its core, throughout the course of Come Into My House, No Kids remain a group of talented musicians with excellent, compelling ideas.

It's just impossible to hate something so glorious.

Little Death is indie for the fanzine generation, 12 blazing little fires of warmth that'll connect stylishly with the masses too.

You can almost feel the wind and rain outside, and this adds to the mixture of melancholia and euphoria throughout, the latter realised most obviously on 'Waving Flags.' And that's the spirit that runs through this fine album, staying with the listener long after the final stanzas of 'We Close Our Eyes' bring it full circle.