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