He has fateful serenity tangling with rudebwoy pluck through crackly pirate radio reception, smuggling in head-scratching interludes - field recordings seemingly from the club's toilets/smoking section - and one '70s synthesizer pitstop.

Lyrically, there are interesting ruminations on the trappings of fame ('(I Wanna Live In A Dream In My) Record Machine') and his troubled mind ('Broken Arrow'), while the album is all the better for losing some of the bravado Noel hid behind while writing for Liam--but there are admittedly some clunkers.

Definitely for the faint-hearted.

The Great Escape Artist is one-paced, bloodless, and frequently blighted by Dave Navarro's ersatz Edge-isms.

Carrier isn't necessarily a victory for versatility or enigma variations, more the sound of Sully helping himself to bass culture's wide open buffet.

The results are mixed.

Yes, the album title is an apt one; but despite its predictability, it proves to be surprisingly fulfilling as a run-of-the-mill house album.

There's a lot of slightly tedious ambient wallpaper. Sure, it works to unite an otherwise diverse set of songs, but you can't help but think there's a much better play list waiting to be whittled down.

Tessa Murray's voice is gorgeously fragile and the backdrop will lift you out of encroaching grim winter evenings.

I Love You But I Don't Know What To Say perfectly concludes a haunting album that truly reveals Adams' bruised soul.

Given time, it's enjoyably addictive.

These tracks are both club and headphone worthy, insular and expansive, ephemeral and dense, lush and skeletal; their only uniting factor, Thom's voice, curling like a wraith through their intricate insistent landscapes. Captivating.

This music really doesn't need any window dressing because it's as good a collection of songs as she has put her name to in ten years.

A beautiful recording but an occasional listen.

It's hard-edged, it's proficient and most certainly smarter than the average band.

Nearly twenty years on from Suede's debut and he sounds pretty much unchanged.

Trans-Love Energies is a master-class of pulsating euphoric electronica from one of the dance fraternity's true pioneers.

Era Extrana is a collection of brooding, eddying and actually kinda loud indietronica that wears its Joy Division and New Order influences on its (mixing) sleeve and contains enough catchy melody lines to flirt with pop... and take it all the way to second base.

The London quintet have raised their game, with something a whole lot more classy, salvaging them from the landfill indie chute.

The Connecticut trio boasts former Lauren Hill and Alicia Keys touring band members--guaranteeing The Stepkids is as tight as it is lovingly reverential.

His voice is something of an acquired taste but, this minor caveat aside, The Year Of Hibernation is a genuinely unique debut.

Stepping out of the shadows suits her after all.

An excellent return.

Here they've created a retro cinema soundtrack to an '80s sci-fi romance.

It'd be unfair to tag Dreams Come True as merely a curio for Grizzly Bear fans. It's more than that--but only just.

The production is crisp and varied; Roots' warm vocal typically hits with soul without being too forcefully firebrand and constant changes in style and tempo gives 4Everevolution the energy to see it through.

The Long Island five-piece show a greater willingness to vary their musical palette than many of their contemporaries

A record for late, empty, lonely nights.