Despite seemingly throwing everything but the kitchen sink and every ounce of digital equipment they could muster at it, +Dome's spellbinding amalgam of jittery electronics, playful samples and conventional instruments--entirely charming rather than overbearing--strikes a fabulous pose.

It's the band's most mature work to date and perhaps the only one that feels like a true album.

Most of the songs flatline – ambient, rambling soundscapes that are largely indistinguishable...It's no coincidence that the briefest songs, when Syd really gets down and makes her personality felt, are also some of the best.

It's a brilliantly focused, glittering and energetic classy pop album that you'd never have expected from the authors of the disparate, overly quirky 'Does You Inspire You'.

Clone have struck a good balance, and there is not a single bad track amongst the 13 included here.

In practice and the long term of most, they're hysterically fun, but perhaps easier to admire in the abstract than really adore, unless you're a 17-year-old girl or bored at a festival.

Given to the Wild is resolutely The Maccabees best.

Sounding freer and better than she ever has before.

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.

Track-for-track the birth of a new legend? Absolutely.

The Men's highly enjoyable chaos.

Future This is a coherent, uniform proposition, a proper album, rather than a melange of posturing and botched experimentation, as was the case with A Brief History Of Love.

This is a piece of work in which good-quality ingredients have been handled without a great deal of tact.

Some parts of Collections 01 show more expansion than others, and at times it does come across as more a collection of tracks.

An evocative sonic portrait that juxtaposes the human-made sounds of the railway and the surrounding landscape.

It's all too hammy, too rich to absorb.

Gorillaz helped re-unite both indie and pop with that most Paul Morley's jowl-wobbling of things: the abstract.

Lioness: Hidden Treasures is an appropriately muted set, with Mark Ronson and Salaam Remi producing an honourable and moving tribute to the Amy Winehouse.

I hated this kind of Lemonheads-lite, floral-dressed, clompety-booted, neurotic ninny inanity the first time round, I have absolutely no idea how anyone could be arsed to expend the (admittedly small) effort it takes to produce such a pointless photocopy ... [but] not even I can find it in my bitter heart to hate the Nickelodeon-Dinosaur Jr bounce of "Georgia" or the honey-toned amble of "Suicide Policeman".

New History Warfare 2 is superfine, breathtaking, at once unnervingly exploratory and highly accessible, a record which leaves you grasping in vain for adequate reference points and peer comparisons.

Is Walking On A Dream the sound of things to come then? Clearly not. Empire Of The Sun's grand ambitions are certainly worth applauding, but unfortunately they amount to nothing more than a cold and pale facsimile of the superior conquests of others who have trod these lands before.

[A] satisfying compilation with its lugubrious and luxurious electronic introspection created by an artist once again near the height of his powers.

Much more the clenched fist than Gish, their second effort saw an increase in intensity, ballast, grit, ambition and sheer scale.

It's magical, from start to finish.

Bangs & Works Vol. 2 straddles a fine line between function and dysfunction, innocence and dissonance--and not once in its 26 track run does it ever get boring.

This is a smart record whose textures become more powerful with each successive play.

Their energy is utterly thrilling and secondly, Hollandaze hints at so much more and should ensure that Tzenos is not reduced to journalistic footnote of merely being a cuddly version of Big Black.

There's something exhausting about this manic exuberance, too. All rush and almost no plateau, it's so fidgety and full of swarming textures that it wears you down.