The production is perfect - not too cluttered, lush, beats melting beautifully into the now-understated guitar - and his vocals are warm and unpresuming.

Hugely disappointing.

Even in spite of their obvious knack for a beast of a tune that knows no indie fear, they do a cracking job of getting peculiar on us as well.

this is pretty much all good stuff. So why does it feel like there's something missing? Haven's problem is their chosen genre - epic, ball busting indie, guitars that jangle, then jangle harder, vocals that ride melody like diseases might pterodactyls.

A shimmering snowflake of a record.

Aside from track sequencing issues... and dodgy indie geezers, 'The Outsider' is a great album and well worth the wait.

It's a pleasant listen, with twice the beauty of its predecessor 'All This Sounds Gas', but while the songs are easy to appreciate, they are difficult to love.

MSTRKRFT have essentially made an album of great productions and remixes and then forgotten to invite any artists or records along to help them out.

By applying themselves to proper songs with words and everything like Mogwai did last year they've demonstrated why they still belong in the upper echelon of Outpoppers That Matter.

This record is more riddled with more clichés and pure, retro water-treading embarrassment than anything [Courntey] Love ever conjured up.

[An] irritating abomination.

Many of the choruses are great, but by about track eight you begin to realise this isn't about songs, this is about mathematics, and if you've actually paid for the album with your own money, you've been well and truly had.

For someone so traditionally dancefloor-driven, there are none too many grooves here, and, even for an artist whose most famous lyric may be "la la la", there's not exactly a lot to go on in terms of substance.

For Wu-Headz, this is the piece of the RZA puzzle we've been waiting a decade for. It's that important.

Far from flawless it may be, but this is a fundamentally fabulous experience.

'Kratitude' is a far from flawless record and can be a little too hip for its own good.

A waste of good beats.

It's as if they're trying to mimic Primal Scream but on ‘Let’s Make History’ they’re more like an under the weather INXS, and on ‘Armed Love’ you could even draw comparisons with Ocean Colour Scene. Eeeeeeeeee!

'Monsieur Gainsbourg Revisited' is an often fascinating and enchanting compilation as these things go, though I say, somewhat predictably, that there's no substitute for the real thing.

One of the most important rock bands ever meets one of the best, and guess what, they've only gone and knocked out a bonafide masterpiece. It's 1993 all over again, but it's also 1970 and 2002 and beyond, because an album this classic transcends any pigeonholing.

Seriously poor, lowest common denominator bullshit.

'Hey People!' dashes past in such a whippy blur that it's far from immediately apparent what on earth to make of it, although if you suspect it'd be fun going back to find out we wouldn't argue.

[The live disc is] arguably far more interesting and focused and energized than the studio effort.

The good news is that despite the excess verbiage (which at least is hardly a shock), this is a Good Album.

It appears to paint from a more kaleidoscopic emotional palette than some of the earlier Stars endeavours.

An attempted retread that feels more driven by commerce than conviction and suffers as a result.

They have developed into an almost evangelically uplifting and powerful rock unit.

Kaiser Chiefs have absolutely no talent or taste for innovation.