It’s just a shame he can’t bring them together as a coherent whole.

Lyrically, Beach House 3 is a step away from the musician’s satin-sheeted comfort zone, but we may have to wait for ‘Beach House 4’ to see him truly come of age.

Ruminations on a post-Brexit nation from a bunch of middle-aged musicians is, perhaps, less essential than it seems to deem itself, but there are probing thoughts and moments to make it worth sticking with.

As well as the miasma of Lush and MBV, the likes of 'Heedless' have a skewed Breeders-ish growl that keeps lines satisfyingly defined amid the sun-bleached, soft-focus beauty.

Mason falls a touch short of the mark. [27 May 2006, p.33]

With their brattish Long Island manners, spiky wit and (middle-class) B-Girl 'tood, it mightn't be all that lazy to re-baptise them The Beastie Girls.

Ultimately, the pop sheen Adams applies on The Voyager is at odds with Lewis' songs. By always opting for directness, he's failed to let her do justice, musically, to the darkness of her inspiration.

The album allows acoustic guitar to be the rule more than the exception. And the sublime melodies on 'Never Day' and 'Honest James' shine. Naturally, you can't take the boy out of art-school.

With their crashing guitar riffs and vague, faux-poetic proclamations, Lost Under Heaven sound more like Imagine Dragons with a Goldsmiths degree.

The Divine Comedy are much more appealing in their vulnerability than they ever were in full cry.

Despite the fluid interplay of the four MCs and J5's evolving musicality, 'Quality Control' lacks the singalong pop immediacy of 'Jurassic 5'.... Quality then. But it's not the old-skool classic we'd hoped for.

While it’s a step down from both "VV" and his Danger Mouse work, it at least might be his definitively stoned record.

Things do pick up with messy, closing tracks ‘Self-Immolate’ and ‘Hell’, but these are proficient rather than remarkable moments. Ultimately, it’s not enough to prevent ‘Infest The Rats’ Nest’ from feeling like a case of “look what we can do!” rather than a record fully realised.

As prolific as he is iconic, Ride Me Back Home is Willie’s 69th (nice) album and sees him in absolute sweetheart mode.

Ultimately Deerhoof Vs Evil isn't going to bring about any revolutions by itself. And while the people who love Deerhoof for being Deerhoof will certainly like this, it's no place to start for anyone else.

Not quite Animal Collective or Stereolab, but at times sounding like an Ibiza chill-out album, there are hot flushes of brilliance here but they are few and far between.

Really, what's to be gained from simplistic sloganeering like, "We don't need no more lies!" [20 May 2006, p.33]

At least once they had a snappy poetic sensibility and an admirable interest in history. Unfortunately, now they are pure turgid Americana pastiche.

There are sparks of brilliance on ‘Love, Death & Dancing’; Garratt’s multifaceted talent is undeniable and his honesty is admirable. But, please, less is more next time.

Too many songs blur into the next (‘Interlocking’ and ‘All Out of Catastrophes’, to name just a couple). Perhaps it’s due to Nadler’s dependence on certain vocal patterns and a no-frills, three/four guitar chord approach. Simple song structures aren’t to be scoffed at, but trouble lands when things become a little too predictable.

‘Shadow Offering’ is an intriguing, if slightly scattered, listen.

Rival Schools have finally returned from an inexplicably long hiatus to demonstrate why they're such luminaries for today's post-hardcore hordes.

An odd album. [13 Aug 2005, p.58]

Musically, Madness still trade in pub singalongs powered by ska rhythms and music-hall jollity--but the jollity feels forced, and Suggs’ tired vocals suggest a man going through the motions.

That’s what’s frustrating here--although, like Waits, he’s obviously a truly poetic lyricist, the instrumentation is much more engaging than Henry’s placid voice.

Yes, there’s joy to be found in hearing a musician so unshackled from expectation and finding catharsis in the experience. But Boy Voyage lacks a running thread, centrepiece or concept to build itself around. It’s a wild, space-age trip that could do with a return ticket back to Earth.

In standing mostly still, Travis have found contemporary eddies swirling around them.

No doubt many of these songs will go on to be fan favourites, but while it’s not a step backwards, it certainly is a step sideways for a band who until now have been in perpetual motion.