This sense of uncertainty is powerful, and what makes Phox one of the most honest and refreshing albums in recent years.

A solid effort that has pure intentions, but just doesn't quite hold the attention in the way some of Diarrhea Planet's peers do. Turn To Gold will find a solid niche of fans, and likely just get a head nod of meager approval from everyone else.

There's plenty of fun to be had here, even if it can't help not quite measuring up to past hype.

Individuality has been smoothed out by production and a lack of lyrical diversity. Undeniably a star, Maggie’s light has been dimmed here.

If the next two albums are going to document Miller's rise from rock bottom I'm intrigued as to how he's going to do that when there's a great deal of what seems to be optimism already about. That's exciting and it all comes from how good and honest Mansion Songs is.

Devil Music is unabashed reverence, almost innocuously so, but articulated with thunderous gravity and primitivism, if not focus. It won’t feature on many end of year lists, but it’s a helluva road trip, albeit one you’ll forget a year later.

The complexity of the songs means there is plenty to enjoy upon repeat listening, although some tracks do feel under-developed. There is no denying that Walker is talented, but five albums in, we’re still waiting for the flawless masterpiece we hope he’s capable of.

While the songs are undoubtedly strong on their lonesome, You’re Welcome is a record that begs to be listened to in sequence.

There's an occasional human misstep reminding us that these aren't robots churning pristine pop, and that they can concoct foibles, but there's no reason we can't just sweep those issues under the rug. It's easy to overlook any small faults, as the rest of the record is so damn glorious.

It's lovely to hear an album that ostensibly requires so few ingredients to paint such a rich emotional landscape.

Much like this path's brightest gems, Revelation is unique, yet strangely familiar.

You nearly always know what you're going to get with Plaid albums, but equally to miss them, to pass them up, is akin to passing up on some of those curious pleasures that make life so enjoyable, whatever these might be. So, you know what you must do; get digging The Digging Remedy.

The Greatest Gift is an appropriate accompaniment to Carrie and Lowell. A simple compilation of oddball tracks, it delivers enough to stand for itself--but is ultimately only really for the enjoyment of Stevens’ long-time fans.

Although on the surface this sophomore record is a less vulnerable effort than his acclaimed debut, if the listener scratches even a little below the up-tempo melodies they will discover the same shambolic protagonist, struggling with the strife of everyday life which they fell in love.

On the Strange Weather EP, she takes this signature style and applies it to the songs of other artists who share the same particular penchant for music that finds inspiration in the dark recesses of our minds. This proves stunningly successful, no doubt responsible in part for the help Calvi recruited in the form of producer Thomas Bartlett (The National, Antony and the Johnsons) and one Mr David Byrne.

Whether it's their brutal attempt at gloomy chamber pop on 'My Only', their embarrassingly direct ripoff of a My Bloody Valentine track on 'Anymore', or their goofy, oddly timed guitar licks on 'The Garret', The Echo of Pleasure results in being an incredibly vague arena rock statement, one that's hopelessly gasping for life (and critical acclaim). As Berman's vocals have clearly aged, so have his songwriting abilities.

This has infinitely more charm than Kane, albeit with a very familiar love of a predictable lyrical couplet.

So while In Glendale is not groundbreaking, revolutionary or gut busting levels of funny, it still provides a humorous, pleasant and suitably mundane peek into the life of a man who has long established himself as a champion of surreal strangeness.

They effortlessly shift between the twinkling and sparse to the thundering and assertive. The Planet continues their crusade of love from their debut album.

Ten tracks of beer-soaked bar-floor bliss, Television Man sweats through with an octane of badassery that's hard to come by these days. And while it's far from album of the year material, it probably is one of the best rock 'n roll recordings to bless the scene in a long time.

Although She-Devils falls short of the high expectations it had built up prior to the release, all in all it is a solid album, one packed with loads of potential and major signs of forthcoming genius from the Montreal duo.

For those of us all too invested in the constant slew of bigger, louder, more flashy presentations every week, it's a true pleasure to get lost in such a graceful, deceptively simple world. Open is a true treat.

Immersion do well to paint imagery in the listeners mind with, “The Humming Sea” rising up with an ocean of analogue synth pad like sounds representative of this image as though it is a reality. It is this ability to create an easily interpreted image of the sounds that make this album so easily accessible to a listener.

Jassbusters is an unusual album in that it’s not quite unusual enough.

Junto holds few surprises and its not the strongest album to sit in their catalogue, but it is reassuring to know that the boys are still making the music they love for a global dance audience.

At times, the staggering length may make the album seem a little more "good night" than "good morning", but GO:OD AM is a place where quality and quantity coincide.

This album might not do anything particularly revolutionary, but as an example of affable, nuanced power-pop, it is hard to beat.

The brevity of Lust For Youth is an issue, particularly as the eight songs fail to fully bond together, so the end result is a little too disjointed and the album overall suffers from a lack of flow, immediacy and purposeful direction. There are some good tunes here, of that there is no doubt, but it feels a little flat as a body of work.