A second set occupying a murkier world than that of Hurts’ glossy debut.
Marr’s solo debut proper lacks the shine he’s brought to other bands’ records.
This ninth album finds Robbie sounding rather too serious, rather too often.
London duo forges strikingly contemporary pop from an alternative future.
Marking a decade of releases, this set shows that Wolf is a songwriter to be admired.
The Brit winner’s third album features an array of ace tracks.
Orton’s unique voodoo pulls the listener in and holds them close.
A belter of an album made for bedrooms and stadiums alike.
There’s just about enough here to justify Spector’s confidence.
The pair’s noisy tendencies can’t drown out some epic melodies.
The flamboyant poppers rediscover their magic touch on album four.
Stone’s second solo LP offers familiar sounds, and misses the contrast of her brother.
Quartet’s comeback ticks many of the same boxes as previous successful LPs.
The Swedish pop duo delivers one of the essential debuts of the year so far.
Regrets set to some fine electro-pop, but Pnau’s fourth misses many of its targets.
A brave debut from a long-hyped band, mixing punkish energy with folk elements.
A staggeringly beautiful third set from the NYC shoegaze duo.
There’s Sinatra swing to Lambchop’s latest, but it’s a twisted take on a new style.
Confirms that Tennant and Lowe have always been songwriters first and pop stars second.
Confirms The Cure as an ongoing, still-vibrant concern.
Australian duo’s main fault on album three is their over eagerness to please.
An entertaining showcase of the New York producer/remixer’s talents.
An assured third set, but these invention-free sounds aren’t exactly killer.
Time has been kind and this remains a classic of the chill-out genre.
One amazing track rather overshadows the rest of this fourth album.
A new direction? Hardly: this is MORe of the same from the five-piece.
A genuine classic, unlike anything any other artist will release in 2011.
An ambitious third LP which disappointingly fails to fully connect with the listener.
Tennant and Lowe’s ballet score is full of wonderful moments.
The best Duran Duran album for 18 years.
Better than it has any right to be, but far from an essential addition to their catalogue.
The Swedes have produced the best album of their career to date.
A competent and frequently enjoyable pop album.
Second singles collection from the young-at-heart rockers.
A solid effort from the ex-Commotions man, adding to an impressive back catalogue.
Sharon follows sister Andrea into the solo arena with mixed results.
The Magic Numbers have decided they want to grow up a bit.
There is a true class to these stately, story-boarded songs.
Repeated listens reveal this to be one of their best albums.
The reconvened James sounds too comfortable on this new mini-album.
Johnny Depp guests on Stephen Jones’s latest long-player.
A stripped-back affair, but overly familiar and sadly nondescript.
Demonstrates to the world that he is a man of excellent taste.
They understand dance music is as much about the getting ready as it is the club.
Damon Gough returns with his second soundtrack collection.
A return to what Bassey does best: sweeping, orchestral overstatement.
Dependable drive-time rock delivered with an admirable straight face.
Hudson has grown as a pop artist, but without losing his roots.
Madonna collaborator Stuart Price returns with his electro group.
A more romantic (potentially) last bow is hard to imagine.
