While fans of the band's more lo-fi beginnings may stare, open-mouthed, bemused at the central role played by synths on Forcefield, there's every chance they'll be gaining a whole slew of newbies, should these many choruses be set loose.

This is the sound of an artist who has allowed himself to take a break and record eleven tracks he would like to rele

This is a maddened work that deals with its own conscience; a debut grappling with heavy topics and conquering them.

With overwhelming confidence the Brooklyn-based trio present 11 songs of unerring quality and an almost uncountable numbers of flicks and tricks.

These deranged components act as one, swinging into motion in one fatal blow. That it comes out sounding seamless is another thing altogether.

Seven albums in, they’re not so much shifting the formula as refining it and waiting for cult stardom to creep up on the scene.

As every track twists and turns, building upon their previous musical accomplishments, this feels like a band who have finally truly found their stride.

Two average tracks out of nine starts to feel like too many and leaves you doubting whether the rest was quite as good as you thought.

The record surprises far more frequently than his previous material, despite never straying too far from his initial sound.

It's just a little more grown up.

Sisyphus is easily the boldest project to come from any three of its members, and that’s saying a lot.

There's so much to like about Mirrors The Sky that could've been loved instead.

In short, Night Time, My Time is stunning.

At a succinct length, the album does exactly what it needs to do without a second to spare.

Despite all the doubts and the self-admonishing, in a strange way you won’t find a more affirming album all year.

The energy of this debut is tangible.

It's pleasantly pristine stuff from the still relative newcomer.

At best, it's eccentricity gone wild--there's no shortage of weird noises creeping in throughout--and at worst, just confusing.

Although Wasser has perhaps sounded better in the past and too many of the songs stretch past their welcome, The Classic is a welcome addition to Joan As Police Woman's repertoire and a recommended addition to any album collection due to its impressive ability to surprise and innovate as it moves forward.

You Can Do Better is a perfect execution of a well thought out plan.

Elbow sound revitalised here with Garvey proving himself once more to be one of the most eloquent British songwriters around.

Its lack of slickness and idiosyncrasies are where its charm lies.

In short, if you're a Dashboard Confessional fan then you'll find plenty to enjoy here. Full-blown pretty-boy emotion dished out by a musician as adept at pulling the heart strings with big, simple feelings as anyone you might care to name.

TV en Français is more a more muted outing.

An accomplished debut but surely only the mere beginnings of a promising career.

A genuinely pleasing aspect of this album is hearing Carter’s vocals dominate more than they have in the past. However, the pace of the second half is less full-throttle and less memorable for it.

While hardly covering new ground or expanding their sonic palette, English Oceans is a welcome addition to the Drive-By Truckers discography as well as their best since 2008’s ’Brighter Than Creation’s Dark’.

A tour de force of Eagulls' brash and brazen-faced formula, this is a record that’ll be ringing in your ears for days after it’s finished.