This is a record which will no doubt appeal to long-term fans of the band as it revels in the same sonic territory as their previous output, and it works as a party-starting soundtrack with its simple lyrics and vitality, but there's a distinct lack of any real depth or enterprise.

Anyone hoping for 'The Eraser' to fledge further results will be similarly dumbfounded. But taken at token value, Amok is a very fine work indeed.

The fearful funk of inc. isn't just summarised as another outlet for meditative reflection--every song on this record showcases unbeatable quirk-pop perfection.

The song structures are comparatively comprehensible, and ultimately, the whole process would be somewhat superfluous if the duo weren’t capable of creating something worthwhile to sonically experience.

Every song has multiple hooks, catching your brain and pulling your toes up and down to the rhythm.

You're Nothing is the magnificent transition from teens powered by punk angst to men mastering aggressive rock songs.

With its muggy, lo-fi atmosphere, Be Your Own King works best at its most carefree.... [But] The tail end of the record does come to a bit of a standstill.

This debut album scraps coherence and convention and prioritises the more vital values of music; making songs that are both accessible and rinsed in invention.

They're a throwback to the eighties heyday of playing around with the familiar shapes and sounds of songs whilst still being, well, listenable and accessible.

There are some wonderful moments, the single ('We No Who U R') and the title track are starkly magnificent, but the general feel is a bit of a comedown.

Clash The Truth is an accomplished album that should see Beach Fossils leave behind lo-fi slacker pop's balmy evenings.

While Untogether is immaculately put together, it does take a while to cross over and connect with you.

Reasons To Believe is a worthy, if overtly reverent, addition to the steady stream of Hardin covers.... But some of these covers are overtly reverent because they fail to acknowledge this schism in the dark soul of the man.

All in all, seemingly indebted to many, this is a band equipped with new-found confidence, poise and an incredibly impressive sophomore effort.

This record might not quite affiliate the soundtrack to your stereotypical image of a hoedown, but it’d more than cater for the boozy walk home under starry skies.

There's clearly something here, there's an evolution in what Shields is doing. But, is it any good? Yes. Is it better than 'Loveless'? Probably not--and it's unfair to compare it to a predecessor that we've had two decades to live with and love. Given its gestation, it perhaps suffers from being a less cohesive body of work.

There is a real sense of Smith genuinely expressing himself through the number of strutting guitar solos and melodic flourishes

Save for a few tweaks, she doesn’t go to great lengths to expand upon the musical formula that’s served her to date.

Pissed Jeans are loud, they're angry; they're buoyant, they're funny; they're introspective and melancholic. They're totally original, and of their time.

IV is a wondrous beast.

There’s a slight dipping point of ‘Away We Go’ and ‘Iron Fist’, and this album doesn’t stand up quite as well as either of the ‘Good Apollo, I’m Burning Star’ epics, but nonetheless this is a thoroughly thrilling entry in to Coheed and Cambria’s rich canon.

With its Ramones-via-The Golden State garage punk, it's brilliantly noisy in all the best places ('White On White', 'Wait For The Man') and yet not afraid to tone down on occasion ('Gimme Something').

Now, we see a new-found confidence as they step out their comfort zone for a deeply personal album.

Assured, confident, and infectious, Wait For Something To Happen sees a band developing both as musicians and songwriters while still retaining what made them great in the first place.

One of the consistently brilliant musicians working today hasn't let us down yet.

It's nice, if a little lightweight.

Having been dogged with comparisons to Friendly Fires since their formation, it is ironic that this record perhaps sounds like the kind of misstep that the St. Albans band made themselves with their second album 'Pala'.

The tracks are less punchy than before and perhaps more subdued, though this is the sort of music that needs to be immersed in and often takes time to truly appreciate.