The album’s first half is fantastic.... The album’s second ‘suite’ is mellower and less consistent.

Musically it’s not a huge departure from Subiza, but if it ain’t broke there’s no point fixing it.

Farewell to Condale, the ’80s teen-flick soundstage for Summer Camp’s brilliant rom-pop 2011 debut; welcome to the slick ’90s house club of their equally impressive second.

Up there with Cash’s ‘American’ series this is not. But 48-year-old Lanegan is a classy bastard, so he just about gets away with it.

MGMT might be an uncomfortable journey at times, but it’s also a transcendental one you’ve never been on before.

The Manics’ 11th album is a subtle, satisfying record that showcases their continuing ability to soar, albeit without digging anywhere near as deep as their politico-punk-pop totems, 1992’s ‘Generation Terrorists’ and 1996’s ‘Everything Must Go’.

Of late he’s adopted a sweeter, eddying Americana, and Dream River takes a turn to lush country-soul.

Its only disappointment is the absence of Roots rapper Black Thought to joust with him.

This 10th album lacks such bite [as 1999’s single Flame].

Mainman Rick Froberg might be midway through his fifth decade, but he and his cohorts can still make one hell of a racket.

There’s not much sugar to sweeten the pill, meaning Trap Lord is often one-note and depressing.

As a whole it’s a bold, beautiful and uncompromising record.

Nine of the ten songs are named after friends, and they’re samey and indulgent.

Salute the heavens, then, that the result is an absolutely belting 10 songs.

Throughout their debut album London Grammar walk a fine line between haunting and boring.

Arctic Monkeys’ fifth record is absolutely and unarguably the most incredible album of their career. It might also be the greatest record of the last decade.

It’s a dark, smart and thrilling debut.

It’s bread and butter blues-rock, packed with lyrical anachronisms and clichés, but it’s done well.

This is not the carefree record Splashh were expected to make, but it is all the better for its dourness.

He doesn’t want to be a powerhouse rap star. Doris may alienate people looking for him to be that. For everyone else, this is a powerful record.

He’s still twisted, but Khan’s genius has never been more obvious.

Like their sonic brothers Iceage, they’ve evolved without losing their edge.

There is little, if any, advancement in the band’s sound, which leaves them predictable after three albums mining The Jesus And Mary Chain and Phil Spector’s girl-group production.

If Christopher Nolan ever does one of his gritty makeovers on Twilight, the soundtrack’s as good as sewn up.

Doherty is actually flirting with optimism on Sequel To The Prequel.

There’s so much packed into these 15 lush, context-evading songs, though, that map references are pretty futile.

Neko Case’s sixth album is typically sumptuous and lusciously heart-rending.

This is the sound of a cleaner, smoother Nine Inch Nails, one that delights in complexities of rhythm more than caustic blasts of rage.