It’s not as focused as it could’ve been, considering the freshness of the songs.

Notice the way whole songs skulk past without you ever noticing; how half the material here is ornate but unmemorable muzak, with all the emotional force of a feather. [combined review of both discs]

Some of the weakest, most un-affecting songs that Kurt Wagner has ever written. [combined review of both discs]

‘Probot’ is the full length dream of a teenage metalhead.

'America's Sweetheart' is still more 'Celebrity Skin' than anything.

Swapping the winding soundscapes of ‘Rock It To The Moon’ for punchier, vocal-led pieces, Electrelane have struck creative gold.

‘Bows And Arrows’ isn’t a bad album, merely average, struggling to match the level of excitement generated by the brilliant single ‘The Rat’.

Playing to their strengths at last, they've taken the lustre of their energetic live shows and injected into their second record with an enthusiasm that shines out of every song.

Talkie Walkie is a startling and beautiful record, as curious and timeless as Moon Safari and as intelligent and listenable as any of the year’s best records.

Like classic Stereolab at their very best.

This is one of the greatest rock epics to drop through our door in a long while.

There's nothing on 'Folklore' that comes anywhere near the catchiness of anything off her debut.

'Love Is Hell' is proof that Ryan Adams is still on form and as splendid as ever.

'Rock N Roll' is the worst record Ryan Adams has ever put his name to; a mess of identikit garage buffoonery and amateurish production, filled with rushed lyrics and written-in-a-weekend tunes.

There’s enough continental plate-shifting histrionics to keep any unsatisfied Godspeed! fans amused.

An adrenaline-fueled head-rush of precision-perfect pop tunes about modern life.

Struggles to offer the same level of excitement that previous Jaxx albums provided.

It’s not a pretty record; while of course, being at times a very pretty record.

The mood is buoyant, the instrumentation is varied and the childlike naivety runs rampant throughout.

The record sounds like a seamless amalgamation of the three Hole eras (punk, grunge and rock), with Dalle’s ska roots almost entirely supplanted in favour of a grungier muse.

Travis may have reached the kind heights where each new release is instantly dismissed by many as more disposable, daytime-radio fodder, but '12 Memories' is easily the best post-'Rush Of Blood…' soft-rock record there is.

This is not a record of ballads for emo fans.... This album is a collection of proper songs.

The whole affair is deeply involving, full of odd punctuations and wonderful non-linear compositional structures.

There appears to be no point or cohesive structure to it whatsoever.

The danger for B&S was that they would become trapped in a world of knee socks and introspection; the reality is that they’ve produced their best album since ‘Boy With The Arab Strap’, while proving that they can cut it in the world of well-adjusted adults.

Grand without ever being bloated, humane without settling into pessimism, the best indie band in North America remind us why sometimes, the rewards do not equal the output.

The duo manage to create the same raw fervoured energy of Jack 'n Meg, but also utilise a far more diverse array of sound and instruments.

This album is chock full of more cast iron monster tunes than any mainstream rap LP this century.