A geek's wet dream.

'The Runaway Found' may have sounded great in 1996, but it also sounds great now, and by our reckoning it always will.

In fairness, if they'd released this in place of, say 'TNT' we'd probably have been all set to hail it as a truly delightful and conceivably seminal record. Instead, we find familiarity breeding just a touch of unexpected contempt.

A waste of good beats.

It just feels that amidst his bare and heartfelt explorations of life and the old wooden box wherein we all end up, Brock has learned to dance, learned to allow himself a smile.

There's a decidedly reigned-in grandeur to the orchestrally-focused Silent League. The strings and things are never allowed to get overly carried away in their stratospherics, the slide guitar and saw are supplied in delicate veins rather than employed in over-styled extravagance.

Finds her flailing club-footedly some twelve steps behind contemporary R&B, whispering distractedly through a seemingly unending array of interludes and phoning in songs that even Mariah at her most barely-there would dismiss as a trifle on the insipid side.

'Absolution' is Muse's most accomplished album to date, and kicks their - at the time - excellent debut album 'Showbiz' into the ground.

'Trading...' may be better than we had any right to expect, but the fact remains that there's nothing here that would've catapulted him to public consciousness were it not for his astuteness and the Donnie Darko connection.

It's not just the vocals that captivate. The sheer busyness of the whole production and all the sounds are to be marvelled at, and though it would be easy to over-egg, they never allow any of the tracks to be cluttered or overblown.

Many tunes possess an open, spacious quality, as if waiting for the jigsaw’s last piece.

Listening casually is OK, as you can get by the annoying Pharrell and enjoy some of the silly retro groves. But pay any degree of actual attention and there are problems.

As unremarkable and average a comeback as humanly possible.

Repeated listens propel it towards sounding like his best yet.

It has the electric hot valve excitement of sixties garage rock, the stomping sexuality of glam and the amphetamined rush of punk rock all dusted down and mashed together in its fever pitch workouts.

Fearsomely post-post-punk, appealingly brazen, and ambitiously tight, they have indeed made The Album That Saved Indie.

It took U2 10 years to reach this level of blandness.

A good record, if a little frustrating.

Lord knows what's going to happen when they abandon their commercial concessions entirely (as we suspect this buys them the opportunity to do. Good), but this is stunning enough in its own right.

'Panda Park' is a strange record, though whether you think it's any good or not depends on your tolerance levels.

'They Were Wrong, So We Drowned' is a remarkably assured second album, and considerably more audacious than its predecessor, but it's a far from flawless affair.

Nothing earth shattering, but enjoyable nonetheless.

It's a pleasant listen, with twice the beauty of its predecessor 'All This Sounds Gas', but while the songs are easy to appreciate, they are difficult to love.

While there is a fair fetter of kook in here – it’s hard to sing histrionically and American and have a wirbly organ thing without sounding a little trite - this desire to geek out is mixed with a warm and thoughtful structural progression that, while never breaking the gasp-o-meter, makes for a pleasing enough debut.

Admittedly, there's not exactly the strictest of divides between the two, although 'Aw C'mon' is arguably the more upbeat of the pair.

In truth, there's no good reason to only confine yourself to just one of these albums when both have charms to spare.

It feels like one of the most uncompromising and oddly impactful offerings they've produced in many years.

For someone so traditionally dancefloor-driven, there are none too many grooves here, and, even for an artist whose most famous lyric may be "la la la", there's not exactly a lot to go on in terms of substance.