A fully realised work of intellect and warmth.

¡Uno! is Green Day's least ambitious record in years and a return to what they do best: short, sharp, scatterbrain pop-punk.

Another near-flawless piece of work.

Unfortunately, the result is usually a bit syrupy and mawkish.

As ever, his lyrics sound better the less you think about them, but you know The Killers are getting it right because most of the time, you don't need to.

The record overflows with the tell-tale nuances of a band who have learnt how to translate grandiosity into something more restrained, yet no less forceful.

A couple of piano-led downers bring us to a close; bruised and bleeding, but breathlessly exhilarated.

We can only hope they soon renew their collaboration; 'Love This Giant''s too big and clever, and Byrne-Vincent too perfect a pairing, to be a once-in-a-lifetime affair.

It's the frontloading of moonstruck, airy pop songs that make this album worth your time; snobs who ignore 'True' will simply be wasting theirs.

'Coexist' is a refinement and crystallisation of their debut.

If TOY are a gateway drug, you'll be too high to care by the time this one's done.

This isn't a reinvention of Dinosaur Jr. so much as a sideways glance; a new angle to help us appreciate their wonder in a new light.

Algiers, then, is everything we know Calexico to be: lucid with grit and tempered with melody, easily the equal of their career's best work.

A perfectly-crafted album rich in just about everything.

Contact is a collection of catchy pop tunes and an eclectic one at that.

As the title makes pretty clear, this is a break up record, weeping with Magnetic Fieldsy candid cynicism about love.

Some of the best material she's ever penned.

They've honed their ability to be urgent and primitive, to write songs that make boys and girls want to snog each other, and added nuance and depth. Everything feels bold, fast and confident.

An album of wonderful surrealism.

The Londoners' ramshackle summer vibes are still happy to coast along on a slacker wave rather than streamlining too directly.

A riot of dumbness, 'Hot Cakes' is predictably brash and Queen-like.

On Four Bloc Party manage to make their affecting and dizzyingly devilish music sound relevant and exciting again.

Magic free and generally shapeless, TEEN have some real growing up to do.

Whilst possessing the rich production values Dear's typically celebrated for, 'Beams' sees its creator grow with confidence, slipping into James Murphy's grubby Converse with ease.

A very, very brilliant thing.

Solo Piano II is an enraptured performance but, unfortunately, it's not always an engaging one.

It's the freakier corners here that shine bright like neon.

This debut's sophistication might mean Jessie slinks to the forefront rather than shoving her way to the top, but however long it takes, Devotion marks a new chapter in this future-pop superstar's journey.