The uncluttered production always feels reasonably on-trend, but too often these songs just aren’t catchy or inventive enough to be truly memorable. The result is another pretty decent album that doesn’t quite ignite.

It all adds up to an overlong, slightly repetitive but ultimately compelling album of two halves.

Another Eternity is a far more mainstream-sounding album than their 2012 debut ‘Shrines’, but it’s also rooted in sounds from the underground.

Imagine a two-piece BRMC if they'd grown up in a sub-zero landscape in Denmark where the only cultural sign-posts are trashy sado-pulp novels, distorted Velvets bootlegs and endless re-runs of Marlon Brando in classic biker-flick 'The Wild One'.

This record may not be as wild-eyed and rabid as it's predecessor, 2000's 'Cocaine Rodeo', but it's loaded with more illicit sex, insanity and glam-punk brilliance than you can shake Satan's pitchfork at.

It works in the same way that Doves' 'Lost Souls' did; that is, by inviting us to bed down in its sumptuously familiar lyrical folds while offering us a warm mug of Something A Bit Different.

This latest effort sees her turn indistinguishable. [1 Apr 2006, p.43]

It gleams like a skate-park erected in the clouds, and this is your invitation to strap on shin-pads, get up there and carve up some cumulonimbus.

As an album, the moments of intelligent beauty aren’t quite obscured by the gloom-by-numbers and, considering how rabidly commercial this really is, that’s something of a little victory.

Ride Your Heart manage to transcend the dated California girl stereotype while knowingly plugging into what still makes the myth so appealing.

After 64 minutes of the same, it all starts to feel like a bit of a grind.

Get marooned with them, while you still can.

It's a tough record to get a handle on, all fidgety switches of tempo and style, but the slippery acid of 'Industry City' and woozy electronica of 'Closer 2 U' reveal the breadth of Woodhead's vision.

Feels a bit like your bedroom partner trying on all kinds of flash costumes and gadgets to try and excite you, and the realisation that it wasn’t really necessary and they wouldn’t have had to bother had you just shown them a little more love in the first place.

At its best, this is the sound of Captain Tofuheart; at worst -- on 'Elegy' -- it is literally an out-of-tune dirge. [29 Apr 2006, p.39]

Romancing is full of brash, exciting music that's as fun as doing The Big Shop with headphones in.

His reinvention nears Hot Chip’s disco-pop on ‘Pagliaccio’, flirts with hip-hop via the big beat and looping riff of ‘Turbine’, and blends lyrical emotiveness with slow-tempo electronic touches on ‘SIHFIY’.

The album itself reveals she’s also got a penchant for exhuming the sickly-sweet memory of Minnie Riperton’s ‘Loving You’ and setting it to 17 different slow jamz drenched in studio gloss.

Kurt’s going for a mirror image of the album here: reimagining some songs (‘Air Bud’ becomes ‘Wedding Budz’), expanding others (‘Snowflakes Extended’), adding reprises and, thankfully, including a brand-new track--the lovely ‘Feel My Pain’.

All in all, ‘The Lockdown Sessions’’ all-bets-off stylistic game of spin-the-bottle feels attuned to 2021’s post-genre Spotify world, as Elton continues to further his musical universe. The Rocketman remains in orbit.

This album isn’t quite what we’ve come to expect from The Last Shadow Puppets, but that’s just how we like it.

Spiky, occasionally over sugary. [14 May 2005, p.67]

Although Leven recites a fair number of hippie clichés (“Make some peace, everyone” implores ‘Seasoned Sun’), it’s her inventive use of an arsenal of rich, vintage synths that rescues Season Sun from cloying sweetness.

Friendly Fires remain knowingly cheesy and in-your-face and their Technicolor live shows will continue to thrill regardless. The worst part of ‘Inflorescent’ is that you won’t hate it; you’ll just forget you’ve even listened to it.

Not a classic, then, but you could just listen to the good ones a lot.

And though the change in volume might be ‘Howl’’s defining characteristic... it’s the shift in attitude that is its finest.

'Tired Of Hanging Around' is one seriously pissed-off, paranoid, twitchy record.

Inside you’ll find very little deviation from the wistful, narrative-led pop they’ve made a career from.