It’s mostly a collection of decent tunes, polished to a blinding sheen.

A stunning collection of songs, in the grand Brit-pop tradition.

Not quite a soaring rock masterpiece, but certainly a bold move that achieves a variable degree of success. Because of the Times proves that Kings of Leon have the ability to change move into new territory, as so many of their garage peers from five years ago have failed to do.

It’s fair to say if you don’t find anything worthwhile somewhere in this record, you probably just don’t enjoy electronic music.

If you’ve yearned for a band that takes that dramatic indie-rock template but injects a bit of post-rock drama into it, then boy, have you ever come to the right place.

Overall, a fine album, self-released or not.

I’d be surprised if the genre can produce anything much better than this.

This is probably the hardest Low album I’ve heard to appreciate, but it’s certainly worth it.

The songs are flat and unoriginal rock.

His songwriting style remains largely unaltered: eloquent, abstract, stream-of-consciousness rambles, tiny bits of which manage to lodge themselves in your brain. But his talent is most apparent as a composer.

I’ll Sleep When I’m Dead is a triumph that will, like its predecessor, take years to unpeel.

There are sublime moments here, and occasionally the interplay is breathtaking. This is pretty rare however, which leaves the rest of the record sounding just as you’d imagine it would, which isn’t a bad thing, just not at the levels of creativity we’ve come to expect.

The beautiful melodies and harmonies don’t actually go anywhere, they just kind of float in and out of earshot, failing to develop or do anything harmonically interesting.

Picking highlights is futile; the record might run for less than twenty minutes but it burns brightly for the whole duration.

A mature, assured, and beautiful album.

Not as poppy as either Moon Safari or Talkie Walkie, not as out there as 10,000khz Legend, Pocket Symphony instead boasts songs that deserve more attention than previous numbers without performing the prog histrionics often found on their more experimental works.

The music is beautiful, spiritual, intense, fun and, as Lester Bangs once called the Clash, righteous.

While the record isn’t perhaps as instantly impressive as Scale or Multiply, there’s much to enjoy on The Third Hand for an appreciator of the finer points of this thing we call pop music.

If GY!BE is the Tolstoy of the Constellation label, DMST has to be its Chekhov.

Their jokes and concepts and imitations have sunk into their bones and become tools for them to make some of the best music of the year thus far.

As a whole, it leaves you thinking that Bobby Conn could have, if he wanted to, made a seminal underground record.

Heroic, monumental and wondrously sensual.

Great art must provoke or inspire you, and I’m sorry to all the folks out there “awash” in Eluvium’s dreamy “soundscapes” of pure “emotion” and “beauty”, but this record does neither.

This music is intensely free, ecstatic and original. But make no mistake - it’s very, very hard to listen to.

You absolutely, positively cannot go wrong buying this one.

Loney, Noir is a beautiful serving of melancholia, and one of the most interesting and fully realised home recordings I’ve heard in a long time.

Despite some missteps (sadly, a few egregious ones), Some Loud Thunder is successful in displaying the group’s breadth of talent and ideas.

The lack of engaging realism has always been one of the major problems for Of Montreal and the new material goes a long way towards solving it.