From the haunting atmospherics to the ‘80s soaked electronica, there is much to love about the album. Those looking for the band that first appeared in 2002, however, will be disappointed--the traces are almost completely gone, so it’s time to accept and embrace the new Editors.

They're not completely terrible. Their music won't damage your ears or insult you, it's just quite spectacularly dull.

Once again produced by Stephen Street, Coxon has created a work full of guileless charm with a deceptive simplicity that masks some intricate musicianship, while its English pastoral ambience is interleaved with some more exotic influences.

It's just impossible to hate something so glorious.

The songs aren't in a hurry to stray beyond mid-tempo and occasionally the production is stodgy... Ultimately though it is a beautiful melancholic album.

It is in Anthony Gonzalez’ veins to make pop music where the listener will swoon, dream and ultimately smile. Despite the mournful lag in the middle of JUNK, that is what he does once again here--in his own inimitable way.

The Nightwatchman is a Molotov cocktail as volatile as any he’s thrown at the barricade of injustice in the past 15 years.

I Told You I Was Freaky is a smart, funny, musically vast album, giving everyone's favorite kiwis a chance to broaden the canvas of their twitchy, awkward, displaced brand of comedy.

The Party Ain't Over may well be dogged by obvious comparisons with Van Lear Rose, but Jackson's effort deserves to be judged on its own terms. Whilst the results are mixed, its best moments are captivating.

Interpol mostly deliver on this album with what they do best, sprinkling some of their most creative moments across it. If this is a schism, it'll be intriguing to see what happens when the pieces eventually do settle.

The album essentially involves wallowing in 45 minutes of one man's competently performed but largely uninteresting catharsis, and there are unlikely to be too many takers either now or in the future unless LeBlanc lowers his lofty ambitions and frankly, chills out a bit.

All in all, Dirty Gold is a solid first major-label album, one that is graced with several moments of brilliance.

No Tourists is a change of heart, but it proves Howlett’s instincts right with its lack of inspiration. Making this record probably did bore them, just as it bores this reviewer to listen to most of it, and while there are signs of life in places it’s mostly, to quote Jeremy, so futile.

Just A Souvenir contains more music than you might expect from two separate albums, and it's a thrilling if occasionally saturating listen.

Xiu Xiu fans get exactly what they want from Angel Guts, while new listeners will either become diehard devotees or be turned off by the lack of originality.

It shows that for the first time they really can do restraint, without compromising the overall impact of the instances where things are let rip.

He can doubtless get a party started every bit as effectively as either of those two [Paul van Dyk & Diplo] but, on this record at least, in dance terms he finds himself rather falling between two stools as he enlarges the walls of his big tent.

Alive As You Are is what west-coast rock 'n' roll is supposed to sound like.

His fans will lap this up for being another solid Brendan Benson album.

It is an accomplished pop album but one that struggles to make any sort of lasting impression.

A lean, 40-minute LP that’s big on melody and small on post-production .

It is neither better nor any worse than The Logic Of Chance. But what is really telling is the lack of anything remotely resembling a standout track.

There’s nothing here that has not been done before, and it’s almost too polished for its own good, but she sounds more at ease with her sound than ever before.

The Sunshine Underground has managed to take the band’s signature big hooks and beats and transform them into something bigger and more relevant, Orton’s contribution a key aspect.

With only five tracks and little in the way of audible lyrics or melody, understandably As Light Return tends to blend into one rather murky whole. That said, after repeated listens, individual song strengths do gradually emerge.

Heading back in the direction of their louder MBV influenced roots, married with their clear confidence in producing dreampop, could be the way to go to produce something more unique. Because when the noise comes, it comes in spades--and it’s simply irresistible.

This may not be an album you’d revisit often, but we should be very glad that it, and its unique, maverick creator, exists.

Despite the classic approach of most of the songwriting here there’s no doubt that it’s a step up in quality for Nesbitt and the result is her most assured and confident collection of songs yet.