Gossamer has enough going on musically to shift the focus away from the occasionally mawkish lyrics.

Expectations hits a lot more than it misses. Bebe Rexha is no ordinary singer. She’s a chameleon who can switch vocals, blend with any sound, and find rhythm with any tempo. She is an artist that can make other genres pop.

While at times Flat White Moon struggles to match the awe-striking levels of the album’s opening track, there’s still plenty to enjoy.

After a while, such frantic energy can get exhausting, and fans of Room(s) or Vapor City might feel bewildered by the whole thing, but throughout the morass, Stewart’s keen ear for rhythm and melody shine through, and his exploration of pop and r’n’b finds more common ground with his own aesthetic that might have been expected.

It’s Alright Between Us As It Is is an album of variation. ‘But Isn’t It’ and ‘Shinin’ are weak, but this is a miscalculation in production and uninspired lyric writing, as opposed to anything which puts any lasting worry in our mind about Lindstrøm’s abilities. The work is not his most creative, he’s not redrawing any of the lines of genre which he himself first traced with previous works.

The Argument may not be the best place for novices to acquaint themselves with the work of Grant Hart but for long-term observers it proves to be a welcome return from a singular if erratic talent.

Okay, so it won't be most people's cup of tea, but Gauntlet Hair is a brave and defiantly individual effort.

M:FANS perhaps loses some of those dissonant, euphoric yet deeply melancholic moments that Music For A New Society has to give us; tracks where it seems a self-consuming feat for Cale to bring himself to sing. But the two work in a partnership rather than against each other.

Solid and dependable, Fade is another album in a long line of impressive works that, whilst never setting a cultural agenda, is always returned to for satisfying rewards

There is so much to be enjoyed on 'Evolve Or Be Extinct' though - such fluid virtuosity - that the occasional blip does not cloud the overall picture.

If Mostly No lacks genuine innovation, the album more than compensates with a radiating glow of veneration.

There's strange stuff here even by the none-stranger Black Dice's standards. But again it's more purposeful and propulsive than that appearing on their previous albums.

Labyrinth is strong, but dwarfed by connections to work which have made an indelible mark upon popular culture in a way this album likely won’t. There is still substance to these compositions however: it’s an electronic, neo-gothic record which brims with strangeness and decay.

It's an enjoyable, occasionally frustrating ride, and one that takes a few listens to sink in, even if its just to unburden yourself of your expectations.

Here is a group that doesn't seem to know where it fits; it can't decide whether it wants to rack itself freak-folk, or avant-noise, or post-rock, or even neo-classical. But it also understands that, actually, you don't have to choose.

Lynchian undercoat aside...it's basically just a good old massive pop album, which can be a scary thing in its own right: the air of soulless, monolithic power and the unseen presence of shadowy string-pullers etc.

Have Some Faith in Magic is very pretty and very meaningless.

It's Venetian Snares going back to the root of his influences by means of a longer-established medium. An admirable idea well executed, but as a listener I'm just not ready for a drill & bass revival and as such this album beggars few repeat plays.

Tenology itself, to recap, is not perfect, or even close. But half of it is a lucky-dip of madcap ingenuity and variation from one of the few pop bands to render cleverness a virtue rather than an irritation.

Lydon's ever-inspiring love of de-dub postulates continually throughout the album – it's such a perfect return.

Barrow doesn't go through the motions – and >> is definitely not the sound of a band in decline.

[Chamber of Light] is like an exquisitely constructed mosaic of UK dance music signifiers, perpetually re-shuffled into new configurations and never losing that sense of possibility that lifts this album beyond the realms of nostalgia. LHF's modus operandi may seem anachronistic in 2012, but it's a damn sight fresher than most of the stuff out there right now.

Land of Sleeper is unlikely to win over anyone who doesn’t already enjoy Pigs’ (etc.) particular brand of stoner rock, but then, I doubt it’s really trying to. A steadfastly unsubtle affair.

Dark Hearts marks an astute shift away from the energy of the clubs, focusing instead on hazy synth pop. Languid ballads run through the album and their production feats, led by the work of Stefan Storm, are best enjoyed on headphones.

Noctunes repeatedly feels like a homecoming of sorts. It isn't, however, without its shortcomings: it's a tad prolonged (three tracks here could easily go) and there's a tendency for Beal to get comfortable in his compositions.

Everything is Beautiful/Everything Sucks is a fun album that allows Frasqueri to show both sides of her personality. ... The main problem with Everything is Beautiful/Everything Sucks is that it doesn’t contain anything as devastating as ‘G.O.A.T.’, ‘Tomboy’ or ‘Kitana’. The songs never quite hit the same vein of intensity, catchiness and lyrical abstraction. There are moments when it comes close.

Taken from the album sessions, the organ-bolstered "Polymers Are Forever" combines classic FOTL with a worrying tendency for grandiosity which was emerging on Travels...; a stylistic development which, along with an increasing funk elasticity, is a far cry from Falkous's efficiently cutting Mclusky.

Everything is Beautiful/Everything Sucks is a fun album that allows Frasqueri to show both sides of her personality. ... The main problem with Everything is Beautiful/Everything Sucks is that it doesn’t contain anything as devastating as ‘G.O.A.T.’, ‘Tomboy’ or ‘Kitana’. The songs never quite hit the same vein of intensity, catchiness and lyrical abstraction. There are moments when it comes close.