Go Dig My Grave might not hit the heights of some of her earlier albums, and is certainly a more uneven collection, but it shows Susanna to still be fascinated by the power of sad songs and in possession of a distinctive, singular ability of re-presenting them.

Future Politics is another impressive step in the evolution of Austra: while the band’s second album was a move towards shiny, commercial pop, the follow up sees a more sparse, fragile collection of songs.

Whilst it is certainly unlikely that Key To The Kuffs will do much to alter prevailing opinion towards his work, the record will serve as a worthy addition to Dumile's increasingly fascinating discography.

While the length is an issue, when Quasi do get it right, the results are up there with some of the best work they have produced over the last two decades.

The problem with Little Neon Limelight isn’t so much the quality of the songs, as they’re generally an intriguing bunch. It’s that it could be rather too eclectic a collection to listen to in one sitting.

The demanding nature of One--a persisting, unrelenting jolt of energy--gets tiring after a while, but there’s no doubt that the highs are incredibly high.

There are 14 tracks all in all, together with a couple of skits. Yet Smith refuses to fall into this trap, by some smart sequencing of the tracks: with the ballads mostly gathered towards the end of the record, Falling Or Flying feels like a coherent album rather than a collection of tracks stringed together.

Far is her best album yet, and while it's a long way from early works such as Soviet Kitsch or 11:11, it perfectly illustrates the evolution of a woman who's becoming a truly great artist.

If you ignore the obvious filler and give it time to wash over, Amanda Palmer Goes Down Under is an enjoyable set of songs that will linger long in the memory.

On balance, Ultraviolence is ok, tending towards pretty good. However, there is a nagging wonderment over exactly where Del Rey goes from here.

It shouldn't work at all, but the overall product--while a bit uneven--is something to celebrate.

Fans of grunge, hard rock, and various types of metal will find a lot to like about these songs. Ladyfinger (ne) blend elements carefully and in such a way as to avoid kitsch.

What’s most impressive about Black Hours is how Leithauser can bounce from one style to another without disrupting the flow of the album.

Surrounding contemporary anxieties within a collage of expertly designated snatches of melody, the record feels slight at first glance before eventually revealing its complexities to the listener, without ever suggesting notions of self-pity.

The only issue is that, over the course of a 45 minute album, Masics’ style can drag a bit. When his songs lose Barlow’s influence, they can tend to lose a bit of energy, and as What Do We Do Now reaches its conclusion, you may be a bit weary of mid-paced plodders like Old Friends and Hangin’ Out. They’re not bad songs as such, there’s just not too much to distinguish them as more than filler.

Dulli is a man still capable of the best in sweat-soaked R&B flavoured rock ‘n’ roll, but he now has a range of subtler, more graceful maneuvers too.

A superb album.

Luckily, there’s enough energy imparted by the snappy drums and darkly driving basslines to keep it interesting, giving structure to the more ethereal elements without overpowering them. If the thought of trawling through the ’90s again leaves you cold, pop this on and party like its 1980.

It’s a great release by one of the UK’s most promising bands, and lays down a foundation for them to build on being melodious and aggressive.

Here Come The Tears sounds like the best album that Suede never made, full of romantic, smouldering pop songs with a soaring depth to them.

A welcome snapshot, for it is that, of the Brakes live experience, in which there is absolutely no padding, total passion and commitment, and the odd wistful aside away from the bluster.

The duo neither pretends to revisit its successful past nor claims a faux renaissance, instead opting for an honest, if solid, collection of songs.

For the most part, Tall Ships have delivered an album that lives up to the promise of their early EPs.

Overall, Bugbears is an album that reveals something new on repeat listens.

There are still creases to iron out, but Antiphon marks a significant step as Midlake move on to the next phase of their career.

This is an album that requires immersion; many of the themes and motifs are barely there and need the blanks to be filled in. It is a sonic adventure, scary, exciting and otherworldly.

Hughes isn’t about to change that with Eirenic Life, but this work offers a warming, soothing relaxation state that is a welcome antidote to the troubles of everyday life currently engulfing us, and may appeal to fans of Brian Eno in particular.

SCUM is rarely subtle and its relentless pace can become a little bit much at times. Yet there’s enough promise here to suggest that with more development and quality control, Ratboy could grow into an artist of significant stature.