It's actually quite hard to decide whether Complete Me is a dreadful pile of over-processed, overloaded frippery, or if it's a work of genius. It could purely come down to whether you've got the stomach for it.

Anyone who vividly remembers the fire in the band's collective belly around the time of their scintillating debut will be disappointed with this comparatively uninspired set.

Though its combative title suggests Khaled cares little for anybody's approval, Kiss the Ring ends up more of a formulaic slugging match than any collection of genuine rap prize-fighters really should.

There’s no real ‘wow factor’ to Talé despite its star guests. But it’s a loveable enough effort.

Language is a sturdy and well-produced collection which, given the right exposure, sounds like the sort of thing that could be very large indeed.

Seemingly, emo is no longer a moody sub-culture, as one can't help but smile when a record is this brilliantly bombastic.

It's like these songs have had their windows cleaned, a few crows' feet ironed out.

This is an intriguing diversion for the veteran filmmaker--not quite good enough to make us want him to give up cinema for keeps, but certainly a new strand to his unique, ineffable vision.

It's brilliantly realised, thanks to Del Rey's extraordinary delivery, her ability to slip from deep-toned haughtiness to breathless ecstasy to velvety vamping – often in the same gorgeous melody.

The problem with The Fall in 2011 is straightforward, really. The band isn't very good. Or, to put it another way, they are very slick and versatile rock musicians, but they have absolutely no sound of their own.

Glowing Mouth is a polished, well-arranged album that could find a happy home in countless collections.

It's spirited enough, neatly sequenced, but perhaps lacks the ingenuity to rework its influences into something that feels new.

The Gift wins at warming the heart in a time of reflection and recession, ringing subtly--via an impressively less-than-mechanical recipe--in the slushiest part of our brains.

Those expecting a worthy if belated sequel to "Movements," however, will be disappointed: even at its best, More! rarely exceeds inoffensiveness.

The Less You Know, the Better isn't a bad album at all, and will likely grow into something far more impressive, something that isn't quite evident on first play.

So yes, it's imperfect, and it's frequently beautiful, much like the world itself, yeah? Do you see? Oh, too relaxed to care? Righto.

Killer Sounds is as assured as third albums should be, and were it a debut album it would be feted as a bright start. However, there is the sense we should be expecting more from Hard-Fi at this point, as the sporadic sparks of brilliance here demonstrate they are capable of it.

While the technical prowess on display throughout this set is truly awe-inspiring--Mastodon might turn everything up to 11, but they never compromise the finer facets of their sound, and everything's captured here in crystal-clear clarity.

Freedom of Speech shows that one of Britain's most intriguing hopes still has some serious thinking to do.

There's still only one Stevie Nicks – witchy, mystical and romantic.

It's just that there's a bit of an identity void at the heart of the thing, a lack of personality.

While the leader has become absorbed by the pack, however, at least I Am the West doesn't go down without a mouthy fight.

Far from a cynical money-maker, this is the unwieldy outfit that unanimously improves those essential runners: harder work to start with, but providing great rewards at the finish line.

Fall to Grace is proof that pop doesn't need to be grey and restrained to feel grown-up.

It’s a melee of styles and disparate ideas – some inspired, some falling woefully short. If its sheer reach borders on folly, it’s still enjoyable as hell.

The contrasts are ecstatic, setting in stone just how remarkable a comeback New Young Pony Club have pulled off. The Optimist is a super-smart pop album at the top of its game.

Once you strip away all this nonsense, The Chapman Family's music is thunderous and well produced.

A rewarding indie-pop set that's as warm and comforting as a hot water bottle at the end of a bed.