It is a hodgepodge of tracks, seemingly made with little thought to how they will all sound in sequence, and because of this it doesn’t have much more consistency than an eclectic music collection on shuffle. Which is a shame, because there are good ideas here.

It’s possibly an album that’s easier to admire than to enjoy, but you can’t fault his ambition.

Even when it doesn’t quite hit the mark, they still sound like no other band out there. They remain a curiously compelling act to listen to, who play by thier own rules – chaos remains their lifeblood, for good and for bad.

Where it hits the mark, One Of The Boys is sparky and accomplished--though entirely disposable--pop.

Maximum Entropy is the somewhat frustrating work of a band with potential in need of some fine tuning.

Maybe not a wholly successful album then, but at its best, The Truth About Love proves that Pink can still credibly compete with the pop stars she helped to inspire.

Cornell's voice might not be as tight as it was back in 1994, but it remains a formidable instrument - and lifts this collection well above that of an average live album. It's the lack of variety that stops it from becoming truly great.

They make the point that Condon has the talent to move in any direction that he pleases, but the reliance on smart ideas means that they only occasionally create a similar emotional impact to the work that got us so excited about Beirut in the first place.

In among these sporadic highlights, however, are numerous slices of tossed-off nonsense.

The music here is a weird mish-mash of FM rock, folky ballads, and funky, poppy dance tracks. It makes for a diverting, interesting listen - but not a totally successful one.

The fondness for schmaltz gets a bit overwhelming, and the album is only great in patches.

However, this album feels like it marks the beginning of a return of form, and it's great to hear his voice again on tunes that don't make you work to the point of sufferance to get any enjoyment out of.

The album is very cleanly produced, though at times it has an unfortunate tendency to become ignorable rather than interesting, Guidance and La Force De Melodie with LouLou Ghelichkhani being the chief offenders. However, the beat switch-up in the middle of Music To Make You Stagger--which turns it from a chilled dubby number to something approaching drum and bass--is very enjoyable, as are the chilly textures of Water Under The Bridge with frequent collaborator Natalia Clavier.

If you can get past the vocal onslaught and the occasional uneventful passage, it could prove more broadly rewarding over time.

Mostly No [is] an album with good intentions but one that's flawed in its execution.

Gardot's wistful, breathy voice belies her youth and the unobtrusive competence of this album effortlessly belies the difficulties she has striven to overcome.

Working Girl isn’t an album that will stretch boundaries or break new ground--the best tracks are ones that can’t easily be compared to other artists, such as Taste It and Help Too.

The second half of the album is less special than the first with just Drinking Song and the excellent two-note undulations of I Warned You perhaps worthy of a higher placing amongst the band’s fully loaded cannon.

Honora stands apart as a fascinating, if sometimes flawed, labour of love.

Notwithstanding the occasional background music tendencies, The Bird And The Bee is a solid debut which will undoubtedly attract most connoisseurs of intelligent pop.

Winterval is intermittently graceful yet often slight and inconsequential: an enigmatic album that is unlikely to linger in the memory for long.

There's no doubting that sounds are placed together, weaved and treated expertly and Small Craft On A Milk Sea can, save its more aggressive moments, flow over and around you therapeutically.

If they only had slightly better tunes, the temptation to highlight the supposedly novel elements of their act might prove easier to resist.

In its best moments, Right On! is a dark, bewitching début that is bound to appeal to fans of Warpaint. Too often, though, its formulas are repeated and sketches left uncoloured to cumulatively less engaging effect.

Welcome Oblivion might have worked with some edits, but ultimately fails as an LP.

Despite the solid highs, there’s nothing truly spectacular and the end result is rather uneven in terms of quality.

Much of the experimentation is on the surface, and there does not seem to be a great deal of further depth or sophistication. Often, it is all too bright and too relentlessly ecstatic to feel truly meaningful or substantial.

Angst is very well in small doses, but over an entire album it can start to grate.