The ghosts of prog exorcised fully at last, Gorky's have once more put in a serious challenge to the Super Furries as Wales' most inventive band, and they've produced an album that, both in terms of its astounding quantum leap and its ambitious orchestration, swings excitingly near to the Delgados' genius breakthrough opus 'The Great Eastern'.

As good as 'Tio Bitar' is, it's actually a weaker album than 'Ta Det Lungt' in some respects.

The pop album of the year.

More than anything else, 'Cripple Crow' is an album that it sounds like it was born amidst a fun, exuberant creative process.

Her voice is still like clear honey dripped on freshly baked bread, and almost sounds nourishing.

Stripped of the Pumpkins' pomp angst and invested with a new pop-rock sensibility by fellow cohorts David Pajo and Matt Sweeney, in Zwan Corgan has simply formed the perfect band.

Fiercely intelligent, heavy as fuck, powerful and utterly concise, it's a perfect reminder of the potency of great guitar music and a kick up the jacksy of rock bands everywhere. Yup, it's that damn good.

Unlike 2002's 'Geogaddi', it's a wholly gripping journey throughout.

'See You Next Tuesday' is so good it should be the soundtrack to a smash hit Broadway musical.

There's a kind of timeless haze that drifts through 'Yellow House' and makes it a pleasingly elusive listen.

This is woeful, otherworldly - and wonderful.

Here is an album with all-new complexity, unforseen depth and many delightful hidden layers.

In truth, there's no good reason to only confine yourself to just one of these albums when both have charms to spare.

This is music that relies entirely on feeling, and while not for everyone it is music at its most impulsively, spontaneously creative.

If 'Fever To Tell' was a scratchy post punk effort, then this is their gothic record.

'The Warning' is a splendid combination of braindance and footdance.

This has little future funk, but lots of Swizz beats-styled Casio Rap and contemporary chart dancehall. Which is lame.

It's not all pleasant.... However, there are some total gems, as you'd expect.

This is an album on which EVERYTHING ace you can think of in indie happens.

Unassuming, unpretentious and totally listenable too, this is thirteen songs and fifty minutes that might just make her famous.

For the first time in what seems like a long time, here is an album that is going to be deservedly huge.

Easily one of the most essential sessions albums ever released, this, and probably one of the year’s most essential, full stop.

This is so good it makes us want to do one of those superlative deploying pull quote things that journalists often stick at the end of their reviews: this fantastic piece of work is already a strong contender for album of the year.

Gleeful, glorious, and utterly unique.

Polly Harvey’s contradictory sure, but the complexities of her character and where she is right now are expressed with an honesty and intensity few artists can ever even begin to think about mustering.

Minimal and huge at the same time, desperately sad in places, thought-provoking and ethereal in others, this is an incredible milestone of a record.

I usually find Shins albums grow on me slowly but surely yet after a good dozen plays I feel my faith isn't being repaid this time, and as a fan that's frustrating.

Their most contemporarily relevant and best album since 'Fox Base Alpha.'