The interludes don’t do much, while a handful of tunes need a richer structure in order to develop an immersive atmosphere. As a result, Powder Dry is similar to reading pages from a diary, some entries describe full stories while others share only a few scattered thoughts. Nevertheless, I appreciate Tim for discarding all guest appearances and the idea of a comfort zone to truly realize his own vision.

Aspiring to find a middle ground between her folk background and the burgeoning success of electro-pop is an enterprising objective, but it is one which Goulding predominantly succeeds in through her genuine sincerity.

As with so many flashy and polished pieces, often the initial effect far outweighs the real underlying substance. For now, though, we’re just going to have to enjoy Hope for what it is: an insanely catchy record from an indie-pop juggernaut that has likely just set the standard for radio-friendly folk.

In summary, it's a good album and a perfect indication of the progress Tankian has made and will continue to make as a musician.

The album is far from perfect, but it is still temping to describe it as a welcome return to form for a songwriter who has lately ventured closer to fluffy indie-pop than the biting folk that made his name. The best of the songs on No Man’s Land mix dense historiography with accessible catchiness.

The album endears itself with a simpler style and digestible runtime provided the ridiculous 60s synths and wee-ooh vocals don't immediately turn you off. It clearly will not go down in anyone's book as a classic release, but for a change it's a Pumpkins album that's aware of that fact, cleverly baking that unassuming simplicity into every note and half-nonsense lyric.

Mission Bell isn't anywhere near a disaster, but it's also nowhere close to being a great album. Whatever it is Amos Lee went off in search of at the beginning of this album, he should have kept looking for it.

Kasher still embraces his flaws and while that may not work to the record's advantage when it does Cursive hits hard as ever.

Planet Earth is one of the more varied albums Prince has done, yet all the same it's probably his most straight-forward release in a long, long while.

While the ten tracks here can switch from sexy to mature, dark to funky, and the differences make themselves further known with extended listening, the heavy reliance on the synth does, unfortunately, keep that complaint intact. Omni is still a very solid record.

The Taking is the sound of a man with no corporate or musical responsibility simply doing what sounds and feels right.

One listen to this album though and you come to realise that its Noel's absence that has made it.

Hella is stuck in the realm of Yowie -- playing with excellent ideas, but too stuck on defining themselves with an all too familiar genre.

The record doesn't particularly sound like anything Our Lady Peace has done in the past, but maybe that is what's so exciting about the quartet's seventh release.

As a concept album, it's halfway to becoming an amazing cycle. There are a few flaws and the second half of the collection to worry about, but so far, Thrice has produced another stunner.

When it's good, it's really good. Otherwise, it's never really bad, just excessive and somewhat unfocused.

OneRepublic’s latest effort proves that they are at the top of their respective genre, and it may be time to stop looking at them as the prince waiting-in-the-wings and finally hand them that goddamned crown.

As a whole Negotiations does little to distinguish the individual songs from the album's greater artistic statement.

It is basically the quintessential Avril Lavigne record, featuring the soaring choruses and melodies that made us fall in love with her over the past ten years, as well as the silly (and sometimes stupid) quirks that range from endearing to flat out annoying.

What truly elevates Relaxer for me is that it finally feels like Alt-J is extending their creative reach.

Every single song is still about smoking with girls, and every song is the same stale, tired, derivative indie/emo I’ve heard a million times.

The thing about Emerald Forest and the Blackbird, though, is that it has no logical direction and no cohesive force, despite its strong and intriguing concept.

It's just we know there's more to this guy than this sluggish, lifeless material.

Chinese Democracy is comfortably the most consistent record the band have put out since "Appetite For Destruction," and proof the ginger midget can put out genuinely great rock music without the blonde giant and the black guy.

While it fails to better its predecessor, Anxiety is a mature, personal and vulnerable release that is both a brave and natural evolution for an undoubtedly talented artist.

A few rays of light cut through the murky and mediocre experience, but when all is said and done, Light We Made is like that dream you struggle to remember in the morning: forgotten.

The fact remains that Songs of Innocence ultimately feels like a crucial upswing in U2’s discography, especially since it comes at such a late stage in their careers.

While at times angrier and more energetic than Death Cab for Cutie, many songs could be (and are) B-sides of "Plans" or "Transatlanticism."