If March's "Fishscale" was his "Highway '61 Revisited" or "Innervisions", "More Fish" is "John Wesley Harding" or "Fulfillingness' First Finale". It may lack something of the lustre, but it's still a gem from a master operating very much at the peak of his powers.

Modern Guilt takes that album's insecurity in the face of technology running away with us, to a tightly-written 10 songs that in part seem to focus on what, precisely, we have done to the world; and how on earth are we meant to get back in touch with it?

"Love Kraft"... sees the group slowing down and settling into themselves, revelling in their customary psychedelic indulgences while knocking out a supremely relaxed perfect pop album in the process.

It gradually reveals itself as a lithe and texturally consummate work.

The Canadian-American boho remains as feisty and red-blooded as ever, her hewn-from-marble voice--part-cowgirl part-Patti Smith--crooning and bawling tales of feckless lads and late night disappointments.

A long 14 tracks, it's fairly unfocused and though the pair have done enough to prove that they're not just out to annoy, there is still something fundamentally unsatisfying going on here.

Perhaps the most fascinating aspects of Flesh Tone are the songs named 'Segue 1', 'Segue 2' and so on through to 'Segue 6' which are positioned to avoid gaps between songs. They're the album's most imaginative moments, and suggest that although Kelis is refining her sound to become queen of the disco, there's still dozens of ideas waiting to announce themselves.

She's softened the edges just enough for you to find a way in and it pretty much liberates the whole record. The transformation overall is nothing short of terrific.

"Black Gold" is a fine, fine record and undoubtedly the greatest thing he's ever done.

Hey Venus! is conspicuously short and sweet, and as a result among the greatest things they've ever done.

Frequently staggering.

This is rap of mesmerising, addictive quality, written and delivered by a master in charge of every aspect of his craft.

There's little doubting Wale's potential but 'Attention Deficit' is so much like a lot of other rap fare out there that it will very likely suffer to be heard above the cynicism directed at hip hop in 2010.

Nearly everything that was once infuriating and irritating about The Divine Comedy has now been eradicated in favour of a new honesty and depth to their sound complete with some genuinely touching moments.

Musically, DC continue to improve, supplementing their acoustic, sparse approach with radio-friendly pop and tracks that subtly ebb and flow; just beware of a few lightweight and labouring moments.

Unlike his obvious contemporaries - David Gray and Tom McRae - Harcourt has produced an album that reaches out beyond the boundaries of the traditional songwriter, yet still comes packed with memorable melodies and robust songs.

They've got one song, basically. It's a fairly good song, comprising driving, rama-lama rhythms and pitch-dark lyrical content; but repeated 10 times in fairly mild variations, it inevitably loses its appeal.

What emerges is Sonic Youth at complete ease with themselves and their music, operating simultaneously at the peak of their powers and with a powerful, audacious restraint.

It's probably Bjork's most succinct and inventive statement yet.

Frankly, this is it all over again.

It may not be his best album but it ranks as one of his most important.

This is true cosmic American music and possibly the best thing all concerned have ever done.

This is an album that's far from complacent and what's most in evidence throughout is they're seeking to challenge themselves as much as their audience.

It's a dizzyingly impressive debut.

A unique musical vision with a genuinely unique and beautifully skewed worldview to boot.

"Everything Ecstatic" pulses with imagination and subtle talent, choosing to follow a sweet technicolour road rather than take a harder, and far well trodden path.

This is bound to be praised to the hilt as the Next Big Thing, but rock outfit At The Drive In have only one thing going in their favour - the absence of competition. It's so close to being something beautiful, something to cling on to in these aurally barren times, but it's just so not quite.

Swift's thoughtful honesty and surprisingly articulate take on life should be commended.