Against such a strong back catalogue, Meat and Bone looks set to go down as an addendum rather than a milestone.

It's hard to get excited about a record that rarely moves from its musical comfort blanket. But there are still moments.

This is a collection of massive-sounding, impeccably-produced songs which mask their dearth of ideas with hackneyed bluster.

This is music that you dive into wholeheartedly when there's time to examine its mutilated layers.

It's a warm-blooded record, beholden to analogue gear and flawless mastering--one destined to fit snugly on a turntable rather than to live as ones and zeros on your iPod.

[World Music is] a wonder through the traditional folk and more amplified sounds of the planet's history, yet infused with enough of Goat's own character to all glue together.

There are those that will love this record, for whom it will be the gateway into earlier, richer work. But for those of us who have already been spellbound by what Ben Bridwell can create, this is simply not enough.

The coherence of Tempest is the hypnotic key to its charm.

Some listeners may lament this retreat from the hefty barrage of sound that was 2009's Farm, but it is crucial that a band such as this progresses and varies itself, and it is somewhat adorable that J is loosely retreading the road that his group took beforehand, only this time he is doing it the right way, with his pals Lou and Murph along for the ride.

While Observator may be no step forward, it is affirmation of a great formula.

It's the best representation yet of the sheer force of the band live, a perfect half hour snapshot of the energy and aggression they've never properly captured on tape.

Around two thirds of Theatre Is Evil's songs are bolted to the chassis of a loud, poppy guitar band, bringing inescapably to the fore Palmer's gift for killer-catchy melodies and stratospheric contrapuntal arrangements.

St. Vincent and David Byrne have brought out the best in each other--they should do this more often.

With a record as good as it is, it's difficult to believe that both they and pop music aren't alive and well.

To those who care about the small differences, it's another tremendously strong album from a career already littered with them.

Though the component sounds are familiar, they've been engineered into a blur.

The xx lay out all of their pieces beautifully. There are no extraneous parts. Not a second that they didn't intend. As a result, songs like 'Tides' or 'Chained' unfold as naturally as a ripple of wind.

There are times when Into The Diamond Sun hits a lull, most notably around the midpoint.

I Know What Love Isn't is a classy break-up record rather than just a classic one.

It's jolly and kinetic and greater than the sum of its songs.

Not a bad album, just a boring one.

Mature Themes is more detailed, more developed, more everything than its predecessor. It's nauseating and beautiful, troubling and hilarious.

A step backwards, demonstrating that to rehash old sounds you need to prop them up with new tunes.

It's immensely listenable throughout, but at its best--with 'Vistate' and 'Cara Falsa'--it's truly spellbinding.

It's simply another great album by an indescribably great band.

It's short (36 mins), but deep and heady, the sort of record that worms its way into your head and stays there, leaving a faint imprint on your psyche.

Thank f*** that they have delivered what we have come to expect from The Vaccines.

There's nothing that really stands out as a hit on here, nothing to get the crowds in Whitesnake t-shirts (ironic or otherwise) moshing in the manner of Permission to Land's hits.