If this is The Vines’ vision then they have set their sights on something remarkably mundane.

In its more luminous moments, it also contains enough to suggest that there is still a great album lurking somewhere underneath the Ladyhawke moniker.

Guthrie's creative spark is as bright as ever.

Even if "Time To Dance" doesn't quite ignite the desire to boogie it--like the rest of Mixed Race--awakens something else you might not associate with Tricky: a burning interest to hear what he'll do next.

That's Why God Made The Radio isn't terrible or embarrassing, it is just is a bit safe.

It’s a fatal flaw that rears itself again and again as a bastardised version of blue-collar Americana is force-fed a mass-produced strain of bland modern rock throughout all eleven tracks.

Perhaps it’s the poor choice of producer in Danger Mouse, perhaps it’s the band losing their nerve, but the whole thing feels bound by a laboured tastefulness.

This is a collection of massive-sounding, impeccably-produced songs which mask their dearth of ideas with hackneyed bluster.

If it's not a masterwork it's an evocative accompaniment to a summer's day, a sporadic but persuasive reminder of how spine-tingling Albarn's voice can be, and yet another musical genre ticked off his list with studious accomplishment and loving care.

At times it feels like pastiche, at others like an impromptu late night jam session: legendary to those who witness it, mind blowing to those who take part, but slightly less fun to listen to sober.

There’s a relentless energy to the music, a beguiling mix of song styles that, on paper, shouldn’t work...but does.

Fellow Travellers is a missed opportunity for a great covers album, but as a shout-out to friends, it epitomises everything that’s endearing and admirable about Shearwater.

After an auspicious introduction Oblivion With Bells has disappointingly descended into an irreconcilable docile abyss.

Tiny Rebels sees Kelly test the boundaries of his own artistry, exploring whether something small--be that a solo act, a straightforward melody, a single thought, or even a collection of six songs--can transcend to become something greater than itself.

Overall, Wildness is a really great comeback record. There are a few dud tracks in there, especially in the first half of the album, but these are more than compensated for by the excellence of the remainder of the record.

Ultimately there are only so many excuses you can make for the fact Here Lies Love isn't an out there masterpiece, merely a somewhat outré easy listening album.

Their debut is just minute after minute of hollow pandering.

On the whole, Penny Sparkle won't fulfill everyone's expectations, but few can argue it represents another stage in Blonde Redhead's audacious quest for development, even after 17 years and eight albums of trying.

Sisyphus is almost certainly the greatest hip-hop folk-tinged electronica with a deep techno pop groove record you'll ever hear.

Off the Record is of more interest as a historical document than for the music itself--something Bartos would probably admit.

The entire record sounds like a calmly-executed upswing, both personally and professionally.

We have an album that displays a band with considerable potential, but which is disappointingly lacking in imagination: compositionally and lyrically.

A Long Place To Fall might not be outlandish enough to acquire Ulrich Schnauss an entire new legion of fans, but those discovering him for the first time could find far worse places to start.

The problem with Human (the album) is that it feels like it’s been over tooled for success, that the commercial facets of his talents have been blown up at the expense of what might have actually made him interesting.

On the whole Goodbye isn't really much more than a background music soundtrack, something that would probably sound much better in an elevator than on an iPod. That said, it’s good for running a mile to.

VOIDS is testament to a band who have never rested in their creativity, and have managed to rebuild and recreate while holding at their core the things that made them brilliant 15 years ago. Have a listen.

Whichever road they happen to tread next, it'll be worthwhile following in their footsteps.

Come Around Sundown is musical wallpaper for those who purchase such amenities from the likes of Tesco or Asda. It represents little more than a giant turd amidst a sea of mediocrity, several million of which will shortly be appearing in homes near you.