Sigur Ros’ songs have a tendency to go on way too long, but the group’s peaks are such that we must cherish them, flaws and all.

A Guide To Love, Loss & Desperation is by no means a bad album, but at the same time it’s hard to see just what all the fuss is about.

The freeform mish-mash of sounds, scratches, samples, styles and lyrical themes is far too much of a mixed bag to have a wide appeal.

For all the state-of-the-art urban production, there’s something distinctly unsavoury about Blackout. And yet, the truly bizarre thing is, the music is top notch.

There is more than nostalgia at work here. Lyrically at least, the cocaine cowboys of yore strive to engage with the modern world’s ills and idiosyncrasies.

This collection sees Levon return to his roots to reinterpret classic songs from his childhood and pay homage to those who influenced him along the way.

Unusually for a Teenager, this album has taken a long time to come.

Pete Doherty has just dropped one of the best indie rock records you’re likely to hear this year.

Unlike his recent output, there’s no overarching preoccupation here, there is only a bunch of good tunes.

Gahan hasn’t arrived at the palace of wisdom yet, but it sounds like he’s enjoying travelling this new route there.

You don’t have to be a fan of the country, blues or folk genres to appreciate the heartbreaking brilliance of this inspired collaboration.

Chase This Light is not a genre-defying album for the history books–-it just gives the impression that Jimmy Eat World are still capable of producing one.

Pull the Pin possesses nothing more than stale and horribly bland rock that will most likely leave even die-hard fans disappointed.

Overpowered is a silvery mirrorball of a record that perfectly illuminates the neon heart of Saturday night.

First impressions are pretty damn good. It’s dreamy, eerie, epic, soaring, soothing, very occasionally manic... and more.

Necessary Evil is bereft of surprises and is pretty much as you would expect it to be.

Widow City is wordy, nerdy, and throws in everything but the hurdy-gurdy.

After thirty years, Souxise's still twice as interesting as three people half her age.

Lennox’s glossy white-soul template does sound a bit dated but she's still impressive when she gets it right.

Fogerty sets high standards for himself and thankfully, he has delivered an album that matches his early solo work.

His take on crunk (which is so generic it feels generous to even call it a “take”) feels flimsy and devoid of hooks, although the lightly Carribean production touches do show a smidgeon of promise.

Beautiful, arcane, unsettling--and that's only the cover. White Chalk isn't so much a record, as a great effort at dragging you into another world.

Foo Fighters’ sixth studio album is a transitional rather than definitive piece of work, but one that sees them growing older with 'patience and grace'.

Intimate, literate and wonderfully executed, Iron & Wine seem to have made one of the albums of the year. Don’t let it pass you by.

With big choruses, pristine production values, sing-alongs, and much lovelorn balladry could it be that Devendra Banhart is about to cross over?

Athlete's third effort Beyond The Neighbourhood goes some way to restoring their initial well-deserved kudos.

Washington Square Serenade is another substantial chapter in what looks like becoming an epic songbook.

Shine is over-ripe with hokey Casio drum machines, soprano sax, and other things that nudge the tone towards easy listening.