It’s certainly a digression from what they could easily have done, and that was something they, obviously, really needed and wanted to do. But it also feels like a regression from the promise and charm that they once exuded.

If Basement Jaxx want to hide their scars behind such easily enjoyable and well constructed pop music, then long may they continue.

Overall, there's a natural interplay between the players, and it lends the album a relaxed, easy-going vibe.

The intensity on Billy Talent III feels the same as the intensity of the band's live show, awkwardly forced and absolutely repellent.

Its their frivolous experimentalism and willingness to toy with all aspects of the past that make Girls such an invitingly warm and honest proposition

The music of Unmap ticks with signature twists and sounds, things that suggest Justin Vernon could be a national treasure on the lines of Neil Young or Elliott Smith instead of the heartbroken one hit wonder that some might have expected.

As a whole it's a musically and lyrically a beautiful reflection on the less than smooth course life can take. But it is not recommended listening if you’re going through a rough break-up or are feeling generally sad, unless weeping yourself senseless is your aim.

At only ten songs, it hasn’t the broadness of past, but it is possibly their most cohesive record. Consistency may rarely outrank greatness in order of virtues but if there’s an argument to be made, it’s perhaps found here.

Like a lot of great records, Masters Of The Burial is minimally arranged, slowly performed and quietly recorded; but there's never a spark here because Millan doesn't give enough of herself to it.

There are moments when the album loses its focus and blurs into extended jamming that doesn’t go anywhere particularly exciting, although Malone mostly manages to keep those tendencies in check.

For an outfit who've been heralded as the industry's great white hopes of 2009, The Big Pink undoubtedly have several moments of pure genius here, but ultimately, A Brief History Of Love lacks the consistency to elevate it from the status of a good debut album to that of a great one.

Don't get me wrong, this isn't an Emperor's New Clothes review, just an expression of concern: there aren't enough reasons for casual listeners to come back to this.

The musicians on the album--eight in total including Vic--seesaw between country, folk and indulgent Seventies rock, never reinventing wheels but generally giving the lyrical matter its appropriate platform.

Having set ridiculously high standards in the past both on record and in the flesh, Forget The Night Ahead hovers above the line marked average rather than the higher echelons of greatness its creators undoubtedly strove to achieve.

The opaque nature of Family makes it seem like a prime candidate for remixes with a touch more bite, but as it is, this is a record to fill those times when Panda Bear seems just a little too raucous.

In the hands of many other artists, White Lunar would be a career-high achievement. It’s testament to Cave and Ellis’ ongoing relevance that it can be released with relatively minimal fanfare--presumably with the knowledge that it’s merely the tip of a mighty, mighty iceberg.

Higher Than The Stars is a fitting way to end 2009 for one of the most exciting bands to emerge this year, and more importantly, hints that The Pains Of Being Pure At Heart may be capable of even greater things in 2010.

Tongue ‘N’ Cheek is a vacuous but fun party record, one that suspension of disbelief aids immeasurably.

Dark Young Hearts shines with talent, pop tunes with those secret corners you think were put there just for you to spot. Lyrical flaws aside, it's an indelible mark of grandeur on our decaying decade.

Backspacer is very much calculated to sound the way it sounds, and suggesting Pearl Jam have lost anything would be premature. Ultimately there’s no point fretting about the future when contemplating a record that’s so very much a celebration of the moment.

Overall, Journal For Plague Lovers is a strident comeback that would have been a worthy direct successor to "The Holy Bible" had circumstances been different.

For the moment they have tightened the experimental purse strings, offering a less rewarding batch of songs than they’re capable of creating.

As it stands it’s an indulgent and, at times, gorgeous listen that merely helps restate your concrete opinions about Muse.

It's Central Market, his second full solo release, that sees him coming of age in a manner that befits the familial myth.

Schizophrenic, surreal and fantastic--that’s Ashes Grammar.

ike all the tracks on 24/7, exercise in precision from the Icelanders, German style. Not Swiss. There is no neutrality here. Every loop and bassline employed on the album has an eye to a tension held just out of view.

The subtlety of musicianship on each track is quite brilliant.

It will not blow you away and, though well balanced, it's not a 'dipper' in that proceedings are constant and hand-picking the best selections does a disservice to the remainder, which complete a strong but not astounding record.