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.

Chunky, neatly devised and deeply satisfying--this is the sound of staring into a black winter puddle while a nearby bird squirts a veneer of soothing melody onto proceedings.

It's Springsteen, it's 70s soft-rock, it's sun-soaked Californian road trips.

Through lulling endless days to fretting thoughts about the future, they remain the same bunch, capable of making the impossible sound almost too easy.

Manhattan would thus far be a brilliantly joyous record, buzzing with intention and vitality. Unfortunately there are a pair of oddball transgressions that ruin this.