At their best, when not wandering along in a gilded fog--much of This Is All Yours is akin to meandering in a pretty, if tiring, gloam.

I Remember isn’t a masterpiece, but it’s an all round strong record where both Reid and Francis solidify their complimentary strengths.

His creatively unrestrained approach results in a record that is hotch-potch but also one that contains several stirring, noteworthy songs.

It combines all of Doja’s past lives with some more heavy-hitting punchlines. It feels like a stark departure from her previous commercial efforts, while still showcasing some clear hits like “Paint The Town Red”, “Gun”, “Go Off”

In the end, another eternity leaves us somewhere in the middle, to contemplate the excellent and the bland.

Where You Stand picks up where you last left them--no matter where that was along the way.

While there are some moments of genuinely engaging songwriting early on, halfway through the mix of styles and genres becomes confusing and incoherent, making it feel incomplete.

Drawing on powerpop, new wave and girl group harmonies, this record is full of engaging tunes, doe-eyed dedications and wry witticisms.

It’s a perfect pop record, from start to finish – there’s not a single filler track, each is distinctive and shows off the band’s impressive range.

It’s a big world out there is certainly enjoyable, but I’d have been happy to do without the stuff we’ve heard before.

Considering that The Last Shadow Puppets is just a casual commitment and a bit on the side for Turner, Everything We’ve Come to Expect is champagne-coated, arena-sized pop-rock album that’s slick and accessibly smart.

verall it feels like a real thrift shop of curiosities with a few gems to be found if you go looking. And if you do, be prepared for a fair amount of sifting.

He demonstrates an effortless knack for crafting intricate and loveable pop gems, while shamelessly embracing heart-on-sleeve lyricism about love, dreams and shooting stars. ... He has managed to produce one of the year's most interesting indie records.

Thin Mind speaks to the concerns of an age fraught with ennui and commodification; much-needed social commentary scored with the understated, melodic, often allusive edge that is the outfit’s creative stamp.

It’s truly a fascinating listen and shows Maus on the cusp of confidently venturing into unknown territory. Even if he isn’t fully there yet, Maus is able to generate enough to show that it’s within his reach.

There’s plenty to enjoy on The Third Eye Centre, but it’s considerably closer to ‘fans only’ territory than its indispensable predecessor.

Waterfall is massive and unyielding, and marks Evian Christ now as a producer who’s mastered both tactile and intricate beats.

In.ter a.li.a is better than we dreamed it could be. Prepare to fall in love all over again.

This is not a record for quick thrills, or for sombre introspection; it is an album that creates a rich, layered sonic space, in which it invites its audience to lose themselves awhile.

It’s a slow-burning beauty and is certainly amongst Cunningham’s best work to date. His next moves will be closely measured against Lines, as this is a soaring debut made to last that will resonate with people for years to come.

Every song leaps to action, be it immediately or with a tentative build, capturing the essence of what’s fun about life. There’s even some tasteful saxophone littered throughout.

Not quite pop perfection, but it has its moments.

Madonna is not merely returning to her origins on this fourteenth album, a regenerative fervour thrives on Madame X, traversing a gamut of disparate genres, stirring curiosity and wonder with rhapsodic intensity.

Lost Friends is an essential first listen that is never too afraid of a huge chorus or a touch of slow burning intensity. Indebted only to themselves, expect great things from Middle Kids.

Her style is still niche, but Remember Us to Life is an important album for anyone invested in Spektor’s growth as a musician and, perhaps more importantly, a storyteller.

[The EP] follows the lead of last year’s return to form The Take Off and Landing of Everything in its sonic subtlety.

“The Airport” and “Leaving the House” add piano to the partnership of Graham’s voice and MacFarlane’s guitar playing (he switches from a clean and quiet electric on tracks one to five, to an acoustic on six to eight), and the color it brings to both makes one wonder what it might have sounded like had it been included on the other songs as well. On the other hand, it’s a small revelation to discover how whole and affecting songs like “I Could Give You All That You Don’t Want” and “Drown So I Can Watch” can be with a few circulating quietly strummed chords and Graham’s austere and ecstatic declamations.

Don’t expect this LP to reinvent O'Connor’s established ‘wheel’, but it certainly shows signs of a formula being gradually improved and perfected.