It might not be as cohesive as some of her earlier work but The Age Of Pleasure is still an album that bristles with energy and boldness.

There are also a couple of tracks that threaten to fall into formulaic power-pop territory, such as Tired Old Dog and Lift Heavy. Yet there’s still a lot to enjoy on Film Buff, and it also acts as justification for Shea’s decision to carry on with the band when Vikingstad and Lokøy left.

It sounds a hefty record to contend with, but it's actually an easy listen; her voice, while pouty and oozing sex, lures the listener in with the promise of fascinating, wide-eyed stories.

Move In Spectrums is a very good record but it’s not a great one. The reason for this is quite simple: the album is lacking the one absolute killer track that would elevate the album to a higher status.

As a concept Top 10 Hits… is frequently confusing, often brilliant and at times downright awful. Ultimately, it adds up to a very intriguing album by a band that is quite impossible to pin down.

There are many joys to be found within its brittle, opaque sounds but it’s undoubtedly an album that must be lived with for an appropriate length of time for these to fully surface. Yet, this isn’t a bad thing.

The album occasionally forces longing for something more grounded in sobering reality, but it's the romantic view of France that it exudes which will capture the hearts of those from these isles.

This soundtrack is a successful exercise in painting pictures with music.

In short, it’s another set of beautifully crafted sound portraits, rich in detail, in which to both decompress and luxuriate.

When Wildflower works, it works beautifully.

Closing track The Dogs (featuring Moby himself on vocals) does stretch things out somewhat, it doesn’t spoil the notion that Innocents, while maybe not the creative renaissaince hinted at, is Moby’s best album for some time.

You might cringe at some of the words, and you certainly wouldn’t play them to your young kids or their elderly nanna, but everyone in-between might just turn enough of a blind eye and enjoy Pop Voodoo for what it fundamentally is: an enjoyable trip of danceable funk.

There’s blissful harmonies, jangly guitars and choruses that bury inside your head – and yes, while it’s not the most original sound, it’s a gloriously well put together record.

Only occasionally does the album threaten to go awry. ... This is smart, literate pop music that can tug at the heart as well as make you dance.

Quarters is such an inventive, smartly composed album that complaining about its lack of emotional clout feels like nitpicking rather than the exposure of a serious flaw.

With this album and its predecessor, he has achieved a genuine gravitas and, more importantly, a believable honesty.

It requires a few listens to grasp but after that it’s pretty rewarding.

It may well be Múm’s most balanced, enjoyable record yet.

If Night Work set out to remind listeners what they loved about Scissor Sisters in the first place, it succeeds. If it had a couple more absolute killer songs then it would be an unqualified triumph but, as it stands, Night Work will do more than nicely.

Cobra Juicy is an album that needs time to reveal itself. Like the band itself, it is a mysterious work that is difficult to get to the heart of, but with a little effort it is a rewarding experience.

This is a bruising, effective set, whatever the year may be, and one that really could only have come from one place.

It’s a tough genre to make a lasting impression on primarily because guitars are somewhat limited as instruments, but the strong presence of electronica clearly makes a difference here where it is less evident in other shoegaze/dream pop acts.

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

Solo projects can be very hit and miss affairs, but Here In The Deep is an evocative and at times quite wonderful set, with some gloriously summery melodies: far more than just an album written to fill some time.

Museum Of Love lacks a big, standout track that’s likely to attract the attention of anyone not already smitten by the band’s affiliated acts. But it’s still a very good record that succeeds at being alternately funky and affecting.

All in all, it's a pleasure to listen to. However, if guitar leads devoid of vocals is not your thing, then this is going to become background music very quickly.

The album's coda lacks snap--as if 13 tracks was too big an ask--and while increased cynicism lends One Thousand Pictures extra weight, it is not a catch-all. Still, here be treasure... and a little sand.

>> is the humble, unpretentious sound of an artist pursuing a very personal and refreshingly unspectacular vision.