Builds on the quiet drama of their warm, melancholic, sometimes creepy sound.

It's full of breathtakingly beautiful harmonies and spiralling narrative lyrics that balance complex emotional subject matter with pitch-perfect delivery and hummable melodies

Thankfully, there are just enough flashes of brilliance to save it, even if much of the album comes across as a really expensive demo.

Curve isn't going to change anyone's mind about Our Lady Peace.

When the everything-and-the-kitchen-sink approach works best, Metal Moon sounds like little bits of all your favourite records glued together into one mutant disc.

By sticking mostly to introspective songwriting, the quintet ignores the strongest tool in its arsenal. It's no surprise that the most memorable tunes are the few where they let their fingers fly.

Though the overall groove ("Don't funk with it," they advise on QueenS) is freewheeling enough to avoid being preachy, awE naturalE is implicitly political.

There's still nothing particularly radio-friendly here and plenty of weirdness to go around, but more than ever the free jazz influences and pulsating drones seem designed to serve the song and not just enhance the listener's physical sensations.

An infusion of their earlier hazy laid-backness would've add more variety, but Tiger Talk is still an enthusiastic, confident follow-up from a band well on its way.

Their talent and impossible-to-fake passion merit the sudden attention.

Phèdre, combines the best of both projects [Doldrums and Hooded Fang], with impressive results.

With a band made up of old friends, Love has made a seemingly effortless record that reveals more with every listen.

It's an interesting listen but doesn't leave a strong impression.

A Church feels a little long, and getting through it requires a certain amount of emotional energy, but it's well worth the effort.

Relapse isn't their best work by far, but if you listen to it next to their genuinely great albums like Psalm 69 or The Mind Is A Terrible Thing To Taste, it stands up better than the cranky metal/industrial establishment--who've been dissing it mercilessly--would have you believe.

Unfortunately, her adventurous side is rarely heard in the more radio-friendly jams, which are heartfelt and catchy but less inspired.

The result is a poppy, polished, triumphant record augmented by backup vocals and violin from new member Miranda Mulholland.

The rollicking and densely layered samples send Muldrow--whose vocal style draws from jazz, soul and gospel--in an unabashedly funky direction, resulting in some of her most emotionally satisfying vocal arrangements and full-throttle rock 'n' roll dramatics to date.

Simple, lo-fi surf rock fuelled by Daniel Lee's charismatic, laconic singing and melodies as memorable as ever.

Long-time fans will appreciate that Napalm haven't toned down their extreme approach to metal.

They save overt prettiness for the music.

Veloso still sounds as smooth and warm as on his 70s recordings that helped spearhead the Tropicália movement.

The T-Bone Burnett-produced album admirably employs a nuanced approach and a consistent tone rather than using the opportunity to cash in on the film's young core audience.

This entirely live album is warmer and more consistent [than 2010's Harlem River Blues], with a lot of heart.

Less immediately rewarding than their debut, but worth taking the time to get to know.

A few breakdowns and builds fly off the rails on the clubbier numbers, but the better songs balance shiny, modern production with exuberant melodies and timeless songwriting.

At first, the complete lack of restraint and overflowing musical ideas make Busting Visions feel a bit like an unfocused mess, but once you get familiar with it, it seems absurd to complain that they've crammed a dozen golden hooks into every single song.

The compelling collision of a pop sensibility with organic guitar riffs, dystopian digitalism and sharp wordplay plays out like the score to a musical set in 2012 Soweto.