Clear Heart Full Eyes [is] a work of understated beauty.

It's a palate-cleanser for sure, and whatever lies next for Everett, you have to hope it's a little more emphatic than what's on offer here.

A consistently engaging and at times exhilarating listen.

A staggeringly beautiful success.

It's dark but not relentlessly brutal. It's even more introspective and dynamic than the pair's collaborations from the first time around.

Perfect Darkness is rather special.

Streamlining has done them good, as has ignoring the need to be as brainy as possible, with classy and effortless-sounding results.

Sometimes you wish they'd let themselves go a little more, but there's much here to adore.

Girl on Fire is a smart album, maintaining the high standards set on The Element of Freedom.

His darkest and most oppressive work to date.

Neighborhoods could easily have been a disaster--that it's not, and actually a very successful endeavour, is worthy of substantial praise.

Though not without merit, the overriding sensation is one of empty melodrama.

Crisis Works is accomplished, polished in all the right ways (it sounds good without the grit at the heart of the songs becoming obscured), but perhaps lacks the soul that a musician's primary project might be instilled with.

This singer knows what suits his voice, an undeniably rich and powerful instrument, and uses it without showing off.

True, it is debatable that we need more mixes with Cockney Thug on in late 2010. But Blow Your Head proves the two tribes can still intermingle, and both are still making winning records

A nebulous set of hyper-stoned musings on bass tethered together in the hard drive of one man's mind.

The component parts of this record prove that indie rock may be 'dying' commercially but still sounds alive and kicking.

Fans of the band, and those with a rustling liking for a certain kind of beard-here-now Americana, will devour this like a bottle of the Bartles & Jaymes wine cooler referenced on the last track.

A very successful collection which commendably fuses a series of contemporary "dance" music structures into an easily accessible whole.

Stick with this 10-tracker, please, as while its first number isn’t the most arresting of curtain-ups, what comes afterwards is entirely captivating.

Lissie does not fully earn her an-artist-apart stripes with Catching a Tiger, but all the signs are here. Give the girl a second and she'll steal your heart; give her another album and she will, quite possibly, become untouchable.

This is electro-pop with palpable emotion possessing its fizzing keys, guided by a vocal performance that underplays the fraught feelings found on the lyric sheet.

Anyone who has enjoyed the Crowes' live show will find it a veritable trove of delights.

It suits him well, and he knows it.

What scuppers Halcyon, though, is the sense that Ellie's still not nailed down her own identity. There's just too much bombast, and the magpie-like-production and big, booming arrangements swaddle rather than swathe her vocals.

However, as the album progresses, with its mix of violins, guitar, synths and fitful percussion, a paradoxical mood and feel is established – desolate yet comforting, glacial yet warm, remote yet intimate, never more so than on Summer Fog.

Although Glover plays the part of rapper exceptionally, he needs to do a little more to stop "n****s asking whether this dude's for real or not".

Their aim isn’t always true: Armonica ladles effects onto Buttery’s vocal to cover up the paucity of its tune. But elsewhere, things come together quite beautifully.