AM lacks that character empathy: rather than being detached--ie, cool, wry, transverted--Turner is removed (impulsive, anxious, dull) and it is this subtle distinction that shoots AM down in its shiny leather metal-toed boots.

With Nobody Knows Willis Earl Beal has rescued soul from the depths of the X Factor's Motown week.

Their debut is just minute after minute of hollow pandering.

Overall, The Third Eye Centre succinctly packs ten years' worth of eccentricities and oddments into a pleasant, if slightly oversized compendium.

Given the gestation period and polish, the humanity that manages to shine through this tight, crafted record is a triumph; the sound of a band having a whole lot of fun in the hope that ultimately you will do too.

Smilewound requires something of an adjustment of expectations.

Glow, then, is generally a mixed bag, gothic, cinematic and made for large spaces and big stages.

Despite the obvious love with which the album's been assembled, there's no denying that Broken Social Scene have been doing this sort of thing for much longer and with more success.

Babyshambles once promised to keep the Arcadian dream alive. Instead, they’ve fizzled out in a fit of mediocrity.

Lyrically, Later... veers between juvenile and baffling.

If the sign of a good LP is no standout tracks then John Wizards is certifiably brilliant, a collage of brightly-coloured chamber pop where modern synths get a look-in too.

This is clearly the album that removes any lingering doubt that Chelsea Wolfe is a very special artist; one who is capable of the visceral and the surprisingly soothing in the same stroke.

Era is the sort of record you can just sink into.

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

There’s very little that’s boring about Aerotropolis, quite the opposite in fact, but there’s also not always enough that jumps out.

With references to house, dub, and instrumental rock all stitched together into a looping, building tapestry that manages to be both visually and emotionally evocative, this is certainly an album that will keep your interest long into the next fad.

Kapranos and co have delivered what is simultaneously ‘just another Franz Ferdinand’ album and one of the indie records of the summer.

It’s a jaw-dropping accomplishment, one of those records that’s almost pointless to listen to as a series of individual songs--tracks are mini symphonies in themselves, and to break Loud City Song down into tracks would be missing the point.

The Loveless brothers’ way with a one-liner coupled with their dexterity with rock dynamics is what sets them apart from their peers.

Modular Living represents a visionary and varied sonic palette befitting of its influences.

It’s an experiment in construction, its sandbox carefully sparse. Fitting then, that Explosions In The Sky find that elusive spark and thrive in such surroundings.

Whilst not wholly unique,Golden Suits is undeniably individual--a wholehearted, open but personal space--built from imagination, memories, stories: what he knows and who he knows.

It brings with it a deftly executed change in tone that we've only glimpsed in the past and a refreshing emotional honesty, which not only feels mature but enduring.

Whether it is a sense of longing or nostalgia at stake, Moon Tides is a solid, inebriating listen that will guide you through your personal transitions and leave you wanting for more.

Despite the lineup change and the turmoil surrounding the trio, Flourish // Perish builds upon Braids equally striking debut without retreading old work.

Murmuration’s darkness is a source of foreboding, curiosity and yes, comfort.

Versions isn't a triumph but it does highlight just what a striking talent Danilova is.

On An Object, No Age push their weakest attributes firmly into the spotlight; a move indirectly admirable for its continued ambition, but one which makes you wish they’d go back to being punk rock, rather than just punk.