However, if 'Devin Dazzle And The Neon Fever' proves anything, it proves that Felix knows three years have passed since [Kittenz]. Now he's partying like it's 1984. It's a development of almost comical chutzpah, and it's one that he wears terrifically well.

An exceptional debut.

The Information is as creative, tuneful and interesting as you could wish from an established artist.

A shining example of just how broad and brilliant electronic music can still be in the right hands.

A staggering, synth-smeared beauty of a record.

Obie is, underneath all Eminem's bullshit, a nice emcee, old school, so when Em gives him a beat with some soul, he comes through.

The jewel in Scott's creative crown is that he has an uncanny knack of keeping it flowing, even when his beats and tones are jerking our sensibilities to shreds with their cerebral madness.

A techno electro smart-ass punky rap thing that'll detonate in your living room.

She has rediscovered The Beat, giving us such funk-strewn gems as 'Trust A Try' and 'You Ain't Right'.

If 2004's 'A Ghost Is Born' was an experimental step too far then 'Sky Blue Sky' finds a band regressing tamely in to Dad-rock. Wilco need to rediscover that middle ground that suits them so well.

You will have to surrender yourself completely to this record, for left as background music it will waft pleasantly around your head and out your window.

A fabulous record.

Any number of tracks here could easily catapult them back into the consciousness of so much more than the cognoscenti.

A lap or two behind many of the albums it seemingly aspires to be (Cat Power, Radiohead, Fiona Apple and Elliott Smith comparisons have been made before and seem almost invited) 'Knives...' still has enough personality and original thought to shield it from accusations of simple derivation.

It's a mastery of creating fantastic dirges, then manipulating them into slithering beasts backed by tight drums, precise guitar scratches, and Dunis' quavering vocals that rescues 'We're Animals'.

They’re waay better than The Coral, exhibiting none of the tedious, skunk-smoke wackiness that characterises their labelmates.

Where they used to be more wild and interesting they seem to have mellowed with age.

The mix of spite, beauty and pain in here is compelling and repulsive all at once.

From its downbeat organ opening to its exhilarating climax, it's almost the sound of a garage band taking on 70s prog-rock excess - all the ambition and none of the flabby indulgence.

As ever with the great man, this is a record that rewards the attentive, and repetitive listener.

Home recording gives 'In Case We Die' an apathetic politeness that lacks any real grrrrr, which is a shame.

This record is, the odd awful phrase here or there aside, rather marvellous.

Like most of the cities Doves sing about, these songs are grey, drizzly, often unpleasant, and more often than not... very, very dull.

A collage of pristine party-hop that will both make the kids bounce and the purists smile.

New Order are one of the best bands in the world again.

‘Up At The Lake’ lifts the best bits from pop’s past and melds them into a largely agreeable, but ultimately underwhelming, classic rock album.

It’s clear that Lemon Jelly have well and truly upped the ante.

'The Hardest Way To Make an Easy Living' is a far more skilfully crafted album than the 'A Grand...', despite what you might have heard.