All in all, The Hidden Cameras are typical of the avant garde, slightly off-kilter art rock we've come to expect from Canada, not a million miles away from what's being offered by fellow countrymen The Decemberists or Broken Social Scene.

It is better than the eponymous debut, although not to the level that their self-satisfaction with it would suggest, and there is still a distinct lack of consistency and a feeling that occasionally while you can see who and what they're aiming at, they miss quite considerably.

For all the colour and flair apparent on Crazy Itch Radio, and despite some genuine gems... a reliance on production and arrangement where some more killer tunes would have worked more memorably is, perhaps, an indication that the Jaxx have, down the years, simply set the bar high.

As the album progresses, it becomes harder and harder to distinguish between one song and the next.

At the end of it all, you realise there's really nothing here.

It's those lyrics that make much of this second album such a disappointment.

This rather bloated record should be regarded as a disappointment - an interesting one, but a disappointment none the less.

(ONe) is decidedly safe and anything but experimental.

There is a sense of 'heard it before' on many of the songs on the album, but, nonetheless the songs still have the ability to rip your ears off.

Like most tribute albums, Monsieur Gainsbourg Revisited is a rather hit and miss affair, but it may just persuade people to rediscover a man who was somewhat misunderstood throughout his life.

If you're looking to buy this record on the back of Heartbeats you may be disappointed as it bears little resemblance to the Knife's current work.

Peaches' overt and upfront sexuality was once refreshing, but it now feels a little relentless. Quite possibly, the novelty has worn off.

A slight whiff of missed opportunity perhaps, but this is by no means a stinker.

Although long-term Dashboard fans will miss the more fragile moments, the new, big, epic sound is one that suits Carrabba.

Compared to what went before, The Return Of... is a massive let down.

Fast Man Raider Man is simply too long, and, as such, a dilution.

It would appear that Tim, Tom and Richard have spent some time at the U2 School of Squillion-Selling Records, their final project sounding more expansive and dramatic than Hopes And Fears ever did.

They peddle freeform sleepy jazz with hypnotic percussion you'll either want to lie in front of for hours or run from screaming.

It's good to see this album released, but whether the meeting between Costello and Toussaint has produced anything of greater note that their individual achievements, I'm not convinced.

While Angels & Airwaves are pretty good, don't pick up We Don't Have To Whisper expecting a revolutionary sound designed to shatter your worldview and change your life. On the other hand, if you want something to fill the gap while U2 are recording are their new album, look no further.

The band seem to be far too familiar with the sonic designs of The Incredible String Band and Comus. Espers II sounds more like a lovelorn impersonation of the music than a radical exploration of its possibilities.

Eyes Open takes the formula of the last album and magnifies it.

A tough collection to make friends with, Denies The Days Demise can infuriate and delight in equal measure, often on the same track.

They haven't completely taken their eye off what made the Charlatans so successful in the first place, but the new sound is none too convincing.

Most of the time, it's run-of-the mill soft rock.

How We Operate remains a very episodic album, containing a handful of great moments but no truly great songs.

The album is a 60 minute blur, and while there are brief moments of clarity there's just nothing special about Blood Money.

It would enjoyably help to while away an hour's driving, but those seeking a little more punch will have to look elsewhere.