For a band whose frequent line-up changes repeatedly threaten to leave them at an impasse, Post Electric Blues is a testament to Idlewild's stylistic and thematic consistency, while standing head and shoulders above the two albums which preceded it, if not quite equalling their career highs.

An album that as a whole sounds like a collage depicting a comprehensive list of everyone who's anyone from the past 40 years of popular music.

The album just about manages to avoid the trappings of both quirky and medieval, which is no mean feat for a flute based album.

What the trio lack in pure, ear-fizzing originality, they happily make up for in solid listenability.

A powerful, graceful album.

The Raveonettes take you to the dark side and articulate every sharp pang of aching heartbreak and rejection you ever felt but they make it sound so goddamn lovely.

With nothing masking itself as filler here, it would be difficult to trim anything off without Mauve losing any of its impetus or impact. Indeed there's very little negative to say.

Almost everything here is pretty good when you sit down and concentrate on it, but there little that jumps up and demands your attention.

An album as beautifully conceived as If You Leave is one you follow from start to finish, riveted by the story it weaves and the emotion it bleeds.

There’s some inevitable long-album malaise in this contingent (particularly prominent on the second disc of rarities).... What redeems is that none of these signings reek of opportunism.

A joyous but intricate album, Edgeland is a perfectly paced outlet for Hyde’s cryptic urban snapshots.

It's hard to properly enjoy the songs when you’re constantly noticing their inspirations, like discovering one of those old Shine compilations made up entirely of b-sides you’ve never heard before.

Solar Year manage to take traditional choral music and refract it through a modern prism. It seems at once on the pulse of the zeitgiest, yet at the same time strangely timeless. The lush production creates an atmosphere of sustained reverie, which envelops a listener in a warm yet visceral way.

Palms is best at its tightest, but is perhaps a tad messier than it really needs to be.

Apart from that and ‘Micro Chip (Say No)’--which succeeds ‘Rebel’, closes the album and suffers from autotune abuse and the claim to be “the sons and daughters of Bob Marley”--Jungle Revolution consistently hits bullseyes.

If anything, the stitching on Push/Pull is much too tight, the tone rigid even when things veer off in wildly different directions.

While City Forgiveness does allow the trio breathing room, they never use that space to justify the length--they’re doing what they do, and doing it well, but the over-familiarity when faced with 90 minutes of this stuff does great songs a disservice.

There are a lot of great songs on Islands, lyrical depth is partnered with enough melodic and harmonic twists and turns to keep things interesting. Underneath it all, though, there lies the sense that here is a band who are playing it somewhat safe.

This is the sound of three of the human race’s finest sonic ramblers in conversation, and it’s a truly daunting experience to give yourself over to.

Geocidal is a fascinating listen purely for the fact that it acknowledges no boundaries: musical, geographical or otherwise. You may not love it; you may not even like it; but you'll pay rapt attention regardless. What it lacks in immediacy, the duo's debut album makes up for in sheer spirit.

It's intrinsically a strange album though, trapped somewhere between The Knife, Nineties acid house, Kraftwerk, New Order’s Technique album, and literally anything Eno did in the Eighties, but the warped pop sensibilities and gloriously plastic production make it a hidden gem.

This album is another positive step in the evolution of an intriguing band.

The diversity of the influences found on What Do People Do All Day? is both the strength and the weakness of the album--a fascinating and beguiling collection of sounds, ideas and influences but a collection which never seems to fully belong together in its own company.

All three EPs--Junk, Dross and Dregs--featured in Resort hold their own standing alone--but when they are collated together it does have a feeling of doing it for the sake of it.

While not entirely unique, both [Mirrors and Second Encounter] provide a distinguished finale to Of Desire and one which suggests The KVB's finest hour might be just around the corner.

The mix of genres and presentation doesn’t always segue as well as they might, and strangely given that mix, it could do with being a little more radical at times. That said there’s plenty to enjoy and it’s often fun to hear these iconic works in unfamiliar fashion.

Arnalds says he spent months agonising over this mix, and the effort shows. This latest addition to the Late Night Tales catalogue isn’t just a seamless journey into his music collection--by the end, you definitely feel like you can relate to him too.

Going forward, The Molochs may want to deviate a bit from the formula they used on America’s Velvet Glory, which gets pretty well worn even though the record is fairly compact at only 11 tracks, but it works well as both a cohesive throwback and a character study.