The Faint have come back in from the cold with the release of Doom Abuse, and frankly it's like they never went away.

Midnight Sun is a very interesting record, and shows the duo expanding their horizons without forgetting about the importance of their melodic roots.

This is 100% bittersweet, but it's honest, it's genuine and we see Li's true colours, hopefully shining back on us.

This is not a record for the faint-hearted. Hell, it should come with a health warning, but if you give it a chance you'll be rewarded with the most innovative electronic albums in a long time.

Even given the mixed results it's good to have them back. Listen without expecting the impossible and you'll find ample to enjoy.

It is the lack of cohesion between music and voice that remains the most prominent feature of the album and its biggest stumbling point; leaving May a disappointing effort from an artist that we know can do better.

There is no denying that Loom is a beautifully fragile album.

This album is more of a reset than a reinvention, ditching the guitar was meant to make or break them, but it's kind of done neither.

Food feels like a full-fledged look at the life, pleasures and pains of Kelis, something none of her old records ever really delivered.

Z is promising but it seems that SZA's identity isn't truly clear as there are too many different styles competing to be heard.

The album suffers from a bit of an identity crisis, it is an honest album as the name suggests but it seems Future has difficulties in being an artist who feels the need to balance his street upbringing with his skill at writing, what are essentially, hip-hop love songs.

The Way And Color is an admirable, solid effort, surely paving the way for better material on the not so distant, sunset dripping, horizon.

Twerk-inducing and loud; 'Goddess' is the game-changer for Iggy Azalea and the glistening cherry on top of the immaculately produced, lyrically creative gem that is The New Classic.

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

They've managed to do themselves justice, and that should be enough not only to please their existing fans, but to win a few new ones too.

It works well enough as a snapshot of where Everett finds himself as he approaches middle age, but the overwrought agonisation on the past and infuriatingly samey instrumental choices make it a difficult record to love.

There is no tweed/banjo suffocation here, and the hands-aloft brand of folk that Horse Thief have stumbled upon only strengthens the power of what are finely-honed pieces of intelligent songwriting.

Much like funsize Snickers bars, there's a gooey joy to be found in the brevity, but especially for us this side of the Atlantic, there are bands who have improved on the formula of twee-punk/whatever you want to call it.

As far as solo jaunts go, this is one she should be immensely proud of. It's Macomberesque as opposed to Borrellian.

As this year's laid-back, folk-tinged efforts go so far, Woods haven't quite packed the sort of emotional punch that, say, Beck did on Morning Phase, but they have provided further evidence that they're slowly emerging as masters of their mellow-pop craft.

The album is a thrill from start to finish and is perhaps surprisingly accessible, particularly if you are aware of their previous work.

So It Goes leaves a refreshing aftertaste on the musical palette and feeds the masses a full course of east coast education.

The sheer solidity of The Body's sound seems to erase all thoughts of humanity and in the end all we are left with are the machines and the monuments, forgotten relics that in time will be destroyed as well.

Tremors is a flawed debut, ironic given the lyrical content, but it's one that, when properly explored, does have some brilliant moments.

It may be a bit malnourished in thematic ingenuity--it's not as honest as Old or Oxymoron, or as celebratory as Acid Rap--but the allure comes from ingenious, inventive production

At just 40 minutes in length it's concise to say the least, but the result is a hearty meal that will subtly introduce you to a new flavour every time you return.

Take Chet's out of context and they might feel as if there were no common theme, but place them side-by-side and you'll find the tracks forming a complete and comprehensive whole--a release that is dynamic, mature, and impressive in all areas.

It's a gorgeously facetious record that succinctly sums up a breadth of adolescent issues; this is the kind of record you'd play when you 'rents were out, or when you've just been dumped, or when your younger sibling got you into trouble and you're sulking.