If you love The Icarus Line and Comets On Fire, and wonder what a record exploring the expansive middle ground between the two outfits might sound like, look/listen no further.

A disparate yet cohesive collection of songs.

Do yourself a favour and eschew fashion for something with real substance: Outside Closer is an album of the year, fact.

His talents seemingly know no bounds, and A Healthy Distrust is as close as he’s come to fully realising such a dominating on-stage character on a recorded format.

It's a very good effort, but ultimately it lacks the consistency of true greatness.

I Am A Bird Now is a beautiful, emotive, glorious, and sometimes sinister album that will top many a critic's list come the end-of-year polls, and justifiably so.

Like Oasis' first album, it's definitely going to bring people together, and it will certainly start mass sing-alongs, but something tells me The Others won't be making it to a stadium near you anytime soon.

I have to accept that the band I once loved is now nothing more than a distant memory. Songs such as 'Tangerine' and 'Crash' have long been replaced by the new sound which owes much more to Keane and Coldplay in their melancholic approach.

An album which traverses exhilaration, desire, despair and loss and sees a songwriter finally completely on top of his game.

So they missed the bullseye. But that's no reason to yell "sell out!", or to deride them as poseurs.

‘Emoh’ is revealing at all times, but utterly dignified throughout, and it’s a wonderful solo record.

This is not a classic – each high is paired with a low of similar scale, so whilst ‘Down In A Rabbit Hole’ scales heights previously thought unreachable, ‘Ship In A Bottle’, with baby samples screeching over the top of the most base-level beats, is plain annoying.

It’s the closeness and the honesty which makes ‘I’m Wide Awake, It’s Morning’ a thing of awe.

The problem with ‘Push The Button’ is that it’s all so predictable.

Simply another shimmering LP from a truly original band.

For all its reference points, it's a remarkable and original record.

What makes Coachwhips bigger than the rock n'roll n'amphetamines and extreme petting that inevitably gets etched on them is sheer, dirty, bone-corroding, untamed noise.

Frantic and calculatedly assured.

It is a beautiful result that, through the austere and effortlessly enchanting tunes, leaves you feeling the emotion infinitely more than any self-professed ‘emo’ might.

Inevitably, it’s a mixed bunch of tracks taken out of context without the pictures to go with the sounds.

Simply, it’s back to what it was all about in the first place; writing cracking tunes and just being boys in a band.

Although White People doesn’t break any of the barriers ‘So…How’s Your Girl?’ did, it is none the less a graduation.

One big loud glam rock electro-pop explosion of an album.

This is an album that can (and I think will) transcend musical taste and age range... 'Lifeblood' may well live forever as one of the best commercial albums of the bands career.

You won’t hear a more exhilarating, dizzying record for a long time to come.

While the first offering holds a quite tangible anger and general gloom within, 'The Lyre of Orpheus is a much more mellow affair, contemplating existentialism and the like.

While it’s tempting to disregard ‘Never, Never, Land’ as a frantic attempt to usurp its predecessor in the celebrity stakes, the big-name guests this time around are infinitely more suited to the mood.

An unexpectedly outstanding and uplifting experience.