[A] sumptuous five track EP that's as melodious as its predecessor but, semi-sadly, not as memorable, not quite as fulfilling, nor as enriching.

He’s created an admittedly imperfect but nonetheless loving ode to some of the greatest milestones in electronic music.

It’s the same bloatedness that often permeates through a Beirut record, and despite a short recording time Condon hasn’t quite been able to shake it, leaving us with a familiar and easy-going album that might step in a different direction, but ultimately remains distinctively Beirut.

A record which clearly finds contentment in its sonic solitude.

It’s a great--albeit mis-matched--collection of songs.

As a taster for her imminent third album, Emmy has newly positioned herself, distancing herself from the ‘anti folk’ sound she once claimed with 2009 debut ‘First Love’.

As usual, there’s probably a few too many ideas here and the band trip up on them occasionally--but if they didn’t, it wouldn’t be much of a Deerhoof record.

It's more than good, but it could have been great.

Ultimately, ‘Man Alive!’ feels like the work of an artist in transition: a handful of stunning tracks surrounded by some backfiring experiments. It’s frustrating but there are still gems to be found amid the soul-searching.

There aren’t quite enough hooks to unite some of the more exciting experimentalism, but when SHIRT does throw them it’s not certain that they land.

As If Apart follows the template of his similarly bucolic 2012 solo debut ‘Overgrown Path’, shrouding his loosely constructed songs in a shimmering lo-fi shroud that makes everything sound as if it was recorded on his front porch, which it almost certainly wasn’t.

It’s not light-hearted or easy to stomach, but for placing themselves into the shoes of others and broadcasting from the inside, there’s no real match for Public Service Broadcasting.

It’s rough around the edges, but that’s part of its charm - a testament to the energy and ideas thrown about in such a short space of time, and the vibrancy of collaboration.

Invitation to Her’s is an occasionally jarring listen, thanks to its stylistic restlessness, but there’s enough substance behind the silliness to leave you feeling they’re following through on their early prom

Heavy with feeling throughout, it makes for a record that’s often a tough listen. But for cathartically allowing herself to tackle life’s most difficult subjects, you’ve got to applaud her.

‘Light Years Out’ is an ill-advised journey into electro-funk territory but overall, ‘Names of North End Women’ is an interesting work that shows Ranaldo has retained all his youthful capacity for innovation and experimentation.

The songs here mostly lack the sonic power and impact of those on its predecessor, but they do accomplish the not inconsiderable task of making Sean’s angular guitars sit alongside Pascal Stevenson’s synths congruously on tracks like ‘Ego’ and ‘Keep Out’. Post-punk bands of various eras have transitioned to new wave over the course of three or four albums, but Moaning have done that with just two.

It’s not routine or mundane, but the second half of the album represents a disappointing fade in if not quality, excitement.

TEEN’s sonic approach is chaotically diverse throughout and this very much feels like an album of two halves; when it captures the alienation and isolation it strives for, though, it soars.

The Idlewild comeback may not see them scale the heights of their previous output, but this album is certainly a heart-warming success.

Ghost Stories is the sound of Coldplay finally coming to terms with who they are--a universally loved, often loathed, slightly cheesy outfit. Charmingly cheesy, though.

Forever is just a little bit tedious, quite repetitive and by the end, unfortunately, thoroughly forgettable.

An album that only even begins to click after about the tenth listen, Arctic Monkeys’ sixth is the kind of eyebrow-raising curveball that could still yet lead to brilliance.

There is certainly well crafted song writing, but the album suffers for having a rather one dimensional sound; the most interesting track ['Sweet Dee'] is, notably, the most different.

While their new guise has them in a more experimental mood - injecting doses of nostalgia all over the shop - it also doesn’t quite possess the same level of clout as before.

A debut with such a title as this does imply an artist still trying things on for size, and there are certainly a handful of emotionally astute, smart indie pop gems to be found among it.

It’s all largely inoffensive and wholly listenable. Which is fine, but we’ve come to expect more from La Roux.

While the studio’s energy is palpable on record, ‘Delta Kream’ is likely to appeal mostly to Dan and Patrick’s fellow blues nerds over anyone else.