For a debut album, this is remarkable stuff and hints at even better things to come.

Home Sweet Home is refreshing and genuinely breathtaking.

If you like Billy Corgan for his knack of writing a radio-friendly song with a heavy dose of angst, then you may not enjoy TheFutureEmbrace. Yet give the man credit for moving on and signalling a clear break with his past.

Despite reservations, Angel Milk can be recommended as a good after hours album.

It's a sometimes bleak record, but one that shows that Armstrong and his cohorts are not satisfied by taking the easy route.

Though it might not be as rewarding a listening experience as Cooder's Cuban albums, this is still a set that demands repeated hearing, and I doubt there'll be another record as lovingly crafted as this all year.

It is clean, polished rock with a vaguely punk edge that stays within a clear set of boundaries but in doing so manages to appeal to indie-kids and metal-lovers alike.

Out Of Nothing is a wonderfully affecting album that is the band's best to date.

This is the debut record of the year so far, which has effectively raised the bar by which other bands will be judged in the future.

X&Y is far from experimental, but it nonetheless showcases a band demonstrating distinctive signs of evolution.

So put aside your disappointment at the lack of squealing guitar solos and take Get Behind Me Satan for what it is - another massive step forward in the evolution of a truly great band.

The overall feel of JackInABox is summery and light, and the album flows quickly and smoothly from song to song.

Here Come The Tears sounds like the best album that Suede never made, full of romantic, smouldering pop songs with a soaring depth to them.

Better than the first two? Course not. Better than the last three? Definitely.

An album of considerable depths, beauties and terrifying contrasts.

It remains an awfully good first effort, and the boys clearly have some exciting ideas - not enough to fill the entire disc, but exciting nonetheless.

Demon Days as a whole is a thing of considerable depth and melancholia and offers rather more soul than the cartoon gimmick would suggest.

There's no reason why this can't nestle snugly alongside Norah Jones in record collections around the world, and it certainly deserves to.

Pig Lib Part Two? Maybe so, but there are enough subtle evolutions here to keep any SM follower listening intently until the cows come home.

Sometimes their creativity leads them astray into territory that should best be kept in the art room, but otherwise Axes is a delicious listen.

Adam Pierce has concocted a cogitative brew, a fountain of trills 'n' thrills, that has the noisy echo of '80s New York noise bands, glimpses of the Fusion and Latin flair that transfixes the likes of Fila Brasilia and Jimpster, and the gossamery drift of Scandinavian techno-pop.

What makes this charged debut such a powerful statement is its impeccable flow. From the moment Devil In Me swaggers in like a Molotov cocktail, you know this is going to rock - hard.

Let There Be Morning may be all too familiar to some, but with its driving guitars, catchy choruses and infectious melodies, this solid effort ensures that the band is set to become a household name.

It's not all bad, but there's no getting away from the fact the main problem with this lifeless debut is Elkington's voice.

Another fine release.

There's little in the way of fire or grit here.

An unknown quantity to me before the first listen, by the third play I was already plotting which of my friends I would be lending it to and reprimanding myself for not having come across them sooner.