'The Mysterious Production of Eggs' is unmalicious, delicious classical indie with enough originality to mark it apart, and what it lacks in jaw dropping charisma it somehow makes up for with songwriting and instrumentation of the highest order.

This is probably the record that everyone who bought the Keane album should buy.

I don't know when a voice touched me as wholly as Antony's does.

An eclectic ragbag of influences coerced into great exciting guitar pop.

'Happiness In Magazines' is likely to make you smile, and may even have you remembering a bygone era when Blur provided the soundtrack.

If anything this year's model raises the stakes on its predecessor.

Simply put, 'Worlds Apart' is a delicately violent piece of art.

There's an 80s Anglophilic feel throughout, and like the era they're paying homage to it's all very hit and miss.

The quality is high throughout.

The album suffers from serious momentum problems. You get something that hammers in a good and interesting way and then a few minutes later it's like the tap of a blue tit's beak on a milk bottle top.

Shimmeringly perfect.

Whether this is an album that actually suits them is another matter, but it actually makes them feel entirely relevant and, for as prolific a decade-old band, that’s high praise indeed.

A travelogue of even richer and stranger territory than its storming predecessor ‘Dead Cities, Red Seas & Lost Ghosts’, although, inevitably, there’s more than a sprinkling of dead cities and lost ghosts throughout, to say nothing of the occasional red sea too.

It’s clear that Lemon Jelly have well and truly upped the ante.

No less of a passion-scratched, damp-sheet-scrumple of an affair than its predecessors.

Beautiful, fun, dark, sentimental, gloomy, hopeful music.

It appears to paint from a more kaleidoscopic emotional palette than some of the earlier Stars endeavours.

There's a lot of tracks on this album that go a lot deeper than anything Jigga's ever done, but so what? They ain't gonna cut it as party jams. Well, except the party jams.

An ultra sleek and, it has to be said, generally impressive, 80s-inspired party record.

Doom is what is amazing and great about hip hop.

'Want Two' is simply in a league of its own.

The Neptunes have lent their Midas fingers on production duties, but they've gone their schmaltzy route rather than into party bangers mode.

The overall vibe is laid-back and the production slick, with dark moments, fun bits and some cool guests. But it lacks the punch that would make it a classic, and it's all too easy to forget that it's even playing.

This album contains unprecedented levels of female vocal annoyance.

As an exercise in hubris and chutzpah it's a rather fascinating affair.

Of course Cohen can’t sing, but what matter that when the words are so rich?

If you like your dance music jerky, nasty and just a little bit angry, Death From Above are your boys.

'Abattoir Blues' is weirdly full of wonderment, and - get this - 'The Lyre of Orpheus' is even more joyful! And they both kick Nocturama's arse full of buttonholes.