If There is No Enemy was a pretty concise record of dreamy guitar pop, then Untethered Moon sees the band get back to a gnarlier sound, with roughhewn, grungy production and two songs that yawn far over the six-minute mark, erupting into hackingly primitive Crazy Horse-style jams.

Although their lyrical palette is limited to shades of grey or black, musically they allow themselves variegated freedom that allows glimmers of light in the dark night. For all its bleakness Endangered Philosophies is also strangely beautiful.

AFI has little in the way of stumbles and no real clunkers to speak of, but a sense of familiarity and repetition creep in before the finish. It’s not enough to tarnish the gems but a greater commitment to ruthlessness would have been welcome.

Its quickness to reach the climax leaves it a bit devoid of resolutions and making it feel like a bit of an empty statement. It's a shame because, Love is Love, for what it is, is such a well-composed album, that it feels like it's close to being a band-defining statement given its all too real context in which it exists.

Listened to absentmindedly, its deep, rumbling groove and overlapping rhythmic lines may initially seem nothing more than an artfully assembled soporific swirl. Live with it a while, though--give it time and space in order that it may weave its beguiling spell--and delights aplenty unfurl.

Holding down lyrical matter which often floats in the air are drum machines and timers, and the production of the whole record is incredibly clean. Sometimes a shininess works. At other points I can’t help feeling a little more griminess would be more apt for the subject matter.

The first half connects the mind and the body equally, which is why they are such successful songs. The second half of is just body music and that’s where it falls a little flat. That’s not to say it doesn't work at all.

More often than not, Peggy Sue derive passion from poignancy, taking their listeners on a journey that makes having a broken heart interesting again.

This is Happening might not take us as far as Sound Of Silver, yet at times it’s still an exhilarating journey with ample opportunity to revel in another idiosyncratic lesson in the art, and joy, of sonic bricolage.

So yes, these are intimate lyrics and stories told first person for the first time--and not just intimate, but vulnerable, self knowing, open and loving. And definitely not embarrassing.

While there is nothing even marginally groundbreaking here, Placebo have still returned with another steady record in Meds.

Trimmed of a couple of tracks and with more than a single change of pace offered, the record could have been an excellent one. As it is, Velocifero stands as a fine piece of work that proves there’s a lot of life left in these synthetic machines.

Some of their critics will remain unmoved, but the fact remains: Kodaline have acquired confidence in their abilities and are on top form throughout their second LP.

As with any good experiment the failures are almost as important as the successes. The old school reggae and the auto-tuned idiocy are utterly redundant, as pointless as water in whisky. There are four or five properly innovative and exciting tunes here.

'I'm Still Believing' and 'Dream Orchestrator' provide capable reminders of Toy's cosmic rock outs from yore but its the dreamier, lovelorn compositions that steal the limelight and honours here.

This isn’t the sound of him stretching himself, or pushing boundaries--it’s the sound of him comfortably in his sweet spot, and that’s no bad thing.

Taken as a body of work it is certainly more consistent than Hot Fuss.

Hayman's production has resulted in a noticeable evolution in the band's sound. Unlike the off-roading experience of their previous albums, Beer In The Brakers is an often much smoother ride.

Lucifer is definitely not for everyone, but for some it will be their album of the year.

Everyday Robots is a lovely record, and in its lack of duds or whimsical twattery it’s probably one of most consistent things Albarn has ever put his name to. That doesn't make it the best, though: it doesn't take risks--not by Albarn’s standards, anyway--and in the most literal sense it's not all that exciting.

En Form For Bla is a record where it's tempting and possible to zone out of and forget that you're even listening, let alone any specifics of sound.

Blood Speaks a largely timeless-feeling piece which not only sounds like it could have been written any decade over the last 40 years or so, but feels eternal in the way it runs its course.

All in all, Wide Open demonstrates a band in transition. Methinks, overall, Burke and her motley crew are headed the right way in their conflicted and thus accurate portrayal of our tangled ids, egos, and libidos.

Largely acoustic, it is a drowsy, potent EP.

A remarkable turnaround then, and although not quite a 360 degree shift, this is a damn fine record that Feeder should be proud of.

The boisterous, almost-live feel of the production, and a leaning towards big, striding choruses and unashamedly anthemic moments means that things never get too ponderous.

For all its clever-clever effects and pose-throwing, In Love With Oblivion is a big fun record meant to be blasted through the loudest speakers possible.