She's an undemonstrative talent, certainly, but there's understated to the point of blending into the background – which is where much of Orangefarben sounds disappointingly at home.

This worthwhile venture serves as a fine complementary package, not exactly pushing at the edges of its makers' own creative envelope but exploring known ground extremely well.

If it were only possible to turn down the vocals, The No Testament would be a work of greater spiritual, and indeed secular, interest.

With placid, feline production, tight harmonies and breezy beats, much of DNA ambles along the well-trodden path of the temperate demi-ballad. But it's the ventures away from this that prove Little Mix function far better either side of mid-tempo.

The overriding impression of Boys and Diamonds, however, is of MIA's global smash-and-grab style of musicianship minus the bonding agent of an overarching personality.

The mixture of emotions across Unapologetic just doesn't sit right.

The good news is that one of the most consistently entertaining pop-rock bands of the 1990s is back together. The bad news is that the album they've released to mark their comeback isn't quite a classic.

The slushy sentiments will click with a tweenager in the throes of a first crush--but anyone with life and love experience beyond passing notes around at the back of class is advised to pass on this collection of monochrome musings in favour of something with a heartbeat. Perhaps, even, something that rocks.

All in all, Destroyed feels like both a return to the darkness from which Moby emerged in the first place, and perhaps his most year zero offering to date.

While keeping his music fantastically fresh and of the moment, this often causes a speedy ageing process.

It certainly meets every expectation, albeit without stretching far beyond anticipated designs.

Sleep Mountain has the emotional weight of a Boxer or a Turn on the Bright Lights, but it doesn’t quite have the tunes. That said, there’s still plenty to fall in love with here.

The Clan sounds lean, experienced and relaxed on a recommended new collection.

This is the sound of the Noughties – electro enough without being harsh, interesting without being over-cool, quirky without being weird. Empire Of The Sun have cracked the perfect blend of fond reflection and sexy new frontier frisson. If this is what the future sounds like, then it's going to be beautiful.

Second album Waking Up is a set of polished arrangements so middle of the road they make Snow Patrol sound like Animal Collective.

Overall, The Orbserver… is lots of fun for late-period Perry fans, and will appeal to Orbologists, too.

Senior makes a strong claim to be 2010's best electronic album. It's a record to lie back and drown in.

It's hard not to declare the record an admittedly limited success.

On paper, everything about Timez Are Weird These Days lends itself to an ostentatious dose of elite, Hoxtonite posturing. But there's substance beneath the style, a welcome human quality to withstand the opulent demi-house compositions.

Rokstarr bounces to a beat that feels fresh and vibrant.

Robbins' first foray into music is a misstep compared to his successful acting career.

Not only does it offer a bejewelled porthole into the flair of Alice Gold, but it's an album that transcends any accepted conventions of 'female singer-songwriter', and lays the foundations for a rock star.

While fans of rebooted electro-boogie are probably better off seeking out Dam-Funk's excellent Toeachizown from last year, Shobaleader certainly has its endearingly eccentric moments.

Linkin Park will always be a compelling and watchable entity. But Living Things doesn't deliver music as interesting or as arresting as what immediately preceded it. Which comes as both a surprise and, more importantly, a shame.

No-one will be disappointed by a Glee album which includes "Don’t Stop Believin’"--their chart-eating cover of the Petra Haden arrangement of the Journey song; or "Alone," or "Gold Digger." But it’s a shame there wasn’t room for their Winehouse-approved upgrade of "Rehab;" or the stripped-back swing at Bel Biv Devoe’s "Poison," as performed by the show’s all-male vocal group Acafellas. These would probably have lifted the second half of the CD, which loses some of the sparkle and joy once the barn-storming "Somebody to Love" has finished.

The album unfolds an immeasurable amalgam of genres and inspirations, all fused together in a diamond-encrusted bubble of futuristic, day-glo hip hop. The energy is palpable, the pace rarely lets up, and personality pervades throughout.

Points for trying something new, but it's hard to disagree with Lindstrøm's own assessment of the record as something of an experimental misfire.

they've upped their creative ante somewhat, a number of these songs (assuming you pick the 'right' ones) coming across as more measured and mature, and a heck of a lot gloomier, than the upbeat bounce-alongs of old. [Review of UK release The Future Is Medieval]