Without the gritty substance of the first album, it has all the depth of a packet of peanuts.

While it’s far from a dramatic reinvention, there’s enough on display here to ensure that long-time fans will be more than happy, with a consistent array of the arena-ready riffs and post-rock choruses that cemented their name in the first place. This time, however, we’re given a welcome glimpse into the darkness that seemingly exists within.

It’s nowhere near his best work--it’s clear why tracks like ‘Oatmeal’ and 'Catacombs Cow Cow Boogie’ didn’t make his albums--but Cass McCombs' cutting room floor is grimier than most, and this record is a consistently intriguing portrait of the odds and sods of a fascinating career. Listen to it, then buy his entire back catalogue.

By Benga’s own high standards it feels a little flat.

The problem is, these impressive production techniques are in greater abundance than actual tunes. With clever tricks rather than pop hooks, expressionistic (and often mumbled) lyrics and a lack of relatable themes, Aquaria can feel cold and self-involved.

Nothing especially groundbreaking here compared with compilations such as the Kitsuné Maison series, but listenable nonetheless.

It’s clear plenty of good choices have been made here. It’s not quite redemption--only time will tell if he’ll curb the recklessness--but it’s certainly a start at reinvention.

Like its namesake, the tape hits like the swing of a scythe: wide rather than precise – not every cut lands cleanly, but enough to make the chaos feel intentional.

<i>An End Has a Start</i> turns out to be a pupae album--it's Editors stretching their sonic muscles, poking the first spindles of whatever new form they'll take out of their gloom-rock cocoon come album three.

The multi-talented musician’s downfall is sometimes that he wraps melodies in so many layers that it barely has a chance to breathe. ... Whatever the flaws in some elements of ‘Changephobia’, Rostam can be proud of creating an album that showcases his talent as a producer and is truly unique.

Canopy Glow can pass you by on first listen, but persevere and memorable moments do emerge.

The record as a whole is full of wan acoustic guitar tunes in desperate need of that mysterious quality of oomph.

At its best, his songwriting is appealingly simple and straightforward: the title track offers an evocative portrait of a relationship that’s breaking down. But at times, Horan’s lyrics let him down a little.

Sex with a z – amusing but dull.

FLOHIO’s willingness to embrace a number of genres and sounds in her music — from 2000s grime to house music — can only be a positive thing, and ‘Out Of Heart’, a body of work that does show promise, serves up a refreshing take on modern-day rap. There’s still room for improvement, though.

Poetic lyrics, tender guitars, tortured synths and Olivier's heavenly vocals. [29 Jan 2005, p.59]

Lyrically, Beach House 3 is a step away from the musician’s satin-sheeted comfort zone, but we may have to wait for ‘Beach House 4’ to see him truly come of age.

Band Of Joy is an essential purchase... if your dad is having a birthday this month.

‘Sorry I’m Late’ is a lot more fun when it stops trying so hard to prove itself.

It’s not until ‘Kids Are Growing Up’ the album’s 20th and final track, that Howard attempts to reflect on anything but heartbreak and fame. .... It feels like an emotional breakthrough for Howard, but it comes just a little too late.

At times, its a record that feels slightly lacking in range as a consequence; as this album chugs on, Night’s wittiest turns of phrase can’t help but take centre stage against a familiar backdrop.When The Regrettes shake things up, they’re most ferocious.

No song is quite right: a lyric about angels or elephants here, a trip-hop beat there, and even the Milky Way would blush.

‘Hold On Baby’’s brightest moments may be more than enough to keep the die-hard KP fans hooked, but this feels like a missed chance to offer up something truly surprising.

It’s testament to their power that an average Isis album is still pretty good.

Cheetah isn’t bad, but it could be the work of lesser producer.

The result is an intriguing, if disorientating, sprawl of sound.

Japandroids know how to bring the ruckus. But elsewhere the power-chord pummelage gets a bit one-note.

It's a well-assembled album, and the steady trance-like flow of 'The Forest At Night', and the eiderdown of sound on 'Transcend' are absorbing.