It seems that despite decades of oversharing, self-analysis, bombast, outrage and drama, Eminem does, still, have something to say, as well as the means to say it.

[Darcy's] never sounded more relaxed, more relieved to be relaxed--and the soft edges, the familiar refrains, the gentle tones, they’re all windows to that light in [him].

It’s one almighty journey through realms uncharted by The Futureheads thus far, and it’s done in fine form.

Waiting For You is hardly the kind of record that grabs and demands your undivided attention. Instead it offers gems buried deep amongst its cityscape’s gently fluorescing streetlamps and slow-moving traffic, crafting a distinctive, defiantly twenty-first century urban soul music that, given due care and attention, leaves an afterglow simmering long after the CD spins to a halt.

Another summer album of frisky, playful, intelligent, tune-filled wonder from a great songwriter born to put a massive slobbering smile on yer face.

Its minimal drum patterns and and playful touches speak of a deceptive lightness of touch, but four albums in and The Raveonettes are making plain they know what it is to have lusted and lost, and therein lies the key to unlocking Lust Lust Lust’s poignant pleasures.

This an attention-grabbing debut album from a unique and fascinating talent, who has more than demonstrated her validity and potential as a solo artist.

It's a solid addition to Greenwood's burgeoning catalogue, and worthy of a listen in its own right.

If you love Zappa, Unknown Mortal Orchestra could be your artist of the year.

Despite this run of two poor(ish) songs, the album is largely excellent--a record bridging the gap between country music and popular music’s less derided genres perfectly.

You get the sense that all Sky Ferreira ever really wanted was for people to listen. Here, she gives them a reason. That's truth worth discovering.

One or two missteps aside, this is exactly what 9Bach do with Tincian--creating an ambiguous mood piece from fragments of traditional Welsh music and contemporary tension.

Crain’s effortless yet potent vocal is the centre of things, as she seems to sing about making a box for herself to hide in, appropriating what is normally a downhome positive genre for her own more maudlin ends.

[An] intense and epic album.

This is music that you dive into wholeheartedly when there's time to examine its mutilated layers.

Overall, Distortland represents the kind of mix and match bag of tricks we've come to expect from The Dandy Warhols and while not quite attaining classic status, is a welcome return for a band who've never been afraid to stick two fingers in the face of adversity.

Ultimately this odd couple have made for a very merry musical marriage, artists from seemingly disparate musical backgrounds proving themselves capable of collaborating on music that is worth listening to in its own right, as opposed to merely being a interesting genre-crossing exercise.

The North Borders is as ambitious a record as its predecessor, and it’s just as successful.

Stranger to Stranger’s effect is most potent when there’s some interplay between a complex, danceable groove and a salient philosophical offering.

Fever then, is an album with an audience already writ large. If the idea of ‘cosmic jams’ brings you out in a cold sweat, then this isn’t a record for you.

Since her emergence as a solo artist, Hannigan has been drawn to all things nautical. On her third full length, she continues that fascination, treading new water and exploring new routes on many of the tracks, but still ultimately in search of new shores.

The brisk bout of choral sighing that rounds off ‘I’ll Be Glad’ provides an effective grace note for this hugely likeable record, if underlining slightly the notion of Lie Down In The Light as a worthy, somewhat minor addition to Oldham’s formidable oeuvre.

Save Rock and Roll isn't life or game changing but it's probably the album FOB needed to make--if only for themselves--and as an honest portrait of the roller-coaster ride that is FOB's career, it finds them on a high.

You may not get on board with it as quickly as Gossamer, but it possesses greater replay value. Angelakos has made an album celebrating stability, and it'll be interesting to see what happens next.

Because Ash & Ice somewhat ironically doesn’t have much of the icy immediacy that typically marks The Kills’ work, the album is one you need to live with to get the full payoff.

She’s gone from making an album that felt in constant peril of collapsing under its own weight to one that carries her predilection for drama with genuine confidence--for now, at least, that’s redemption enough.

By the high standards of Mogwai’s soundtrack work--and therefore their work in general--it’s a bit tread watery. But it’s still bloody Mogwai, a band never less than magical.

They just seems to be writing the music they enjoy, about the things they care about, and it’s done them a world of good.