It is hard to ignore how limited, both musically and lyrically, the Darling Arithmetic tracks sound when played alongside their predecessors. However, despite its limitations, Villagers’ latest LP does succeed in producing some very worthy reinterpretations and weaving them seamlessly together, which is often easier said than done.

It’s easy to appreciate and admire, but difficult to enjoy.

It may not contain anything as seismic as 'First Wave Intact,' from their debut "Now Here Is Nowhere," but the band's self-titled third album reasserts the Secret Machines identity whilst revealing a fragile underbelly.

It is better than the eponymous debut, although not to the level that their self-satisfaction with it would suggest, and there is still a distinct lack of consistency and a feeling that occasionally while you can see who and what they're aiming at, they miss quite considerably.

Therapy is a well-balanced record that plays to Anne-Marie’s strengths, complete with glossy production and hooks to keep the avid pop fan humming.

Eerie, melancholy and yet strangely soothing, The Deserters is an album to treasure, whatever the season.

They have made a patchy record that’s very much intended for loyal followers who have completely bought into their long established aesthetic.

They’ve never really risen to heights that maybe they should have scaled but with so many infectious pop melodies lurking under the fuzz, it’s just as remarkable that they remain on the periphery of their genre.

For the length of the album, at least, Kings Of Convenience do a standup job of convincing the listener that loud is long forgotten, and in these violent, uncertain times, quiet is king.

This album is, however, a huge amount of irreverent fun, and provided you approach it with that in mind, you'll get plenty of enjoyment out of it, especially when turned up loud at a party.

For anyone wanting to hear a genuine progression from the blueprint laid out by "Play" and to enjoy the calmer, more ethereal and undeniably sadder side of Moby's music, Wait For Me is worthy of further investigation.

Faust have produced 12 tracks that perfectly encapsulate what they can do so well: to create catchy, bizarre sounds. It’s Popmusik/subversive all over again.

More than any other record Wasser has produced, this one feels like it’s purposefully going for accessibility. This is not at the expense of creativity for the most part.

There are standout moments of beauty in the sound they make--usually when pausing to gaze upon the full sun--but these reveries are the exception rather than the rule, and just as the listener is absorbing them, along comes a guitar to wrench them away.

The album sees Crossan as a distinctive producer once again, after the events of the past few years threatened to leave him faceless.

A nice Christmas present for that hardcore Killers fan in your life, but most casual observers will be happy to give this a miss and wait for the third album.

Rihanna's appearance aside, Mylo Xyloto is everything you'd expect from a Coldplay album.

An at times minimal sounding album with steps and layers that build towards something. The music and the art stand apart, but they’re inevitably intertwined.

1990s have not made a bad album, but like the decade itself Kicks never lives up to its promise and contains too many derivative and unmemorable moments.

The past is somehow devoured, processed and regurgitated to form a completely refreshing and new substance; this is heavenly stuff that marks a departure from the modern sound.

By producing a more polished, more accomplished sheen while The Killers have roughed themselves up and forgotten to shave, the two bands have moved towards a middle ground where they're virtually indistinguishable.

Some good moments then, but overall Funeral Party fail to keep the energy levels up.

This is what could be termed a healthy dose of parent-friendly hip hop, though now and again it threatens to spoil its reputation as it comes close to one of those dreadful ‘friend chip' adverts.

There may come a time when Crystal Antlers' potential coalesces into a great album, and will be greeted with true accolades, rather than a better-luck-next-time send off--unfortunately for us all, Two-Way Mirror is still pre-natal.

Despite a few moments of middle-of-the-road excess, The House is a shockingly good album--that is, not actually amazingly good, but just shockingly by Katie Melua.

This is more of a curate’s egg of an album than anything else.

This might be a ride through familiar territory but The Proclaimers specialise in steadfast song writing and this is sure to satisfy their legions of fans.

For now, though, Dark Young Hearts can perhaps best be considered a troubling, worthy yet ultimately unloveable misfire.