Whilst possessing the rich production values Dear's typically celebrated for, 'Beams' sees its creator grow with confidence, slipping into James Murphy's grubby Converse with ease.

'Major' is a more refined second effort, but one that still holds true to the band's promise of back-to-back hooks.

A fearsome, mind-bending collection.

'Coexist' is a refinement and crystallisation of their debut.

It's the frontloading of moonstruck, airy pop songs that make this album worth your time; snobs who ignore 'True' will simply be wasting theirs.

More Dum Dum than Vivian, September Girls’ debut LP is a reverb-ridden sass-pot of a thing--all fluttering eyelashes and scratchy underbelly.

Don't be fooled by the benign title of James Yorkston's latest album--the songs have some real bite to them, both lyrically and sonically.

We can only hope they soon renew their collaboration; 'Love This Giant''s too big and clever, and Byrne-Vincent too perfect a pairing, to be a once-in-a-lifetime affair.

Wonderfully, it’s somehow nostalgic and current at the same time.

An album of wonderful surrealism.

On NZCA/Lines, he achieves his goal [to make 2012 sexy], slipping from slick pop that transforms the mundane into sheer seductiveness ('Okinawa Channels'), to monastic barbershop harmonies ('AM Travel Approach').

Two Wounded Birds' pains make for mighty pleasurable listening.

Expansive, orchestral and delicate, its beauty [the band's music] is totally deserving of another round of critical acclaim.

Over far too quickly, it's another near flawless record from the Manchester trio.

Beautiful Rewind is the sound of an artist looking to cut loose, and its playful spirit proves catching.

Outlines are blurred between post-punk, rave and a very modern psychedelia; brushing between textures and emotions with skillful subtlety and provoking sincere disappointment.

Despite not reaching for particularly new ground, Confess still manages to excite.

At times a lick more panache might have leavened proceedings, but ‘Winter Reigns” celebration of the great English pub (where “the dark’s never far behind”, naturally) rounds out this confident debut in style.

It's muggy and consuming in the way that using 96 effects pedals at once will be, but there's a vital sweetness that shines through.

What Kanye has created is the most honest--and yes, at times dislikable--record of his career.

METZ is pulverizing, but in an artistic, superior way; the Canada-based trio balance noise, aggression and tact expertly.

It's sentimental in places, but it also marks the 24-year-old out as one of the most exciting new producers around.

Even attention-grabbing appearances by Lovefoxxx and Hot Chip’s Alexis Taylor don’t distract from the ambition, intellectualism and plain-speaking seductiveness that make ‘SUM/ONE’ a more than impressive listen.

DIIV exist in the hazy, blissful end of the shoegaze spectrum, where every day is a stoned slice of summer.

It’s undeniably a slacked out soundtrack for dopey wallflowers everywhere, but Unreal is also a surprisingly progressive affair that speaks to your soul.

Thanks to the sheer joy with which he performs it (produced here for the first time by Kieran Hebden), it’s irresistibly, inevitably satisfying.

Social commentary ('Blaze Up A Fire'), emotional nudity ('Elephant') and confessional bravery ('Angel Wings') illuminate a warm, honest album.

Saxophone solos! Samples that may or may not be from the Sugarhill Gang! The EastEnders theme tune sung in the style of Boyz II Men!