Fans may miss Wolf's habitual genre-hopping and eccentricity, but this is mature and compelling stuff. His best so far.

At times it’s sketchy and frail, at others decidedly defiant.

Dragged down by a excess of melodrama, with some cutting and a dash of pop sensibilities The Jezabels would have a stone cold classic.

Interestingly, the album itself isn't “too true”--rather, it’s just true enough.

His use of simile and metaphor is questionable but with an irrepressible energy and guest vocal spots from Kelly Rowland (Invincible) and Ellie Goulding (Wonderman) on top of three top five hits, this Peckham born rapper might just have made the most fun pop album of the year.

False Idols comes close to vanquishing the spectre of ‘Maxinquaye’, comprising a fleshy and nasally return to form.

When you see Jungle live, it takes very little provocation for them to extend their songs into euphoric, funk-laden, instrumental prang-outs that mesmerise your mind’s eye. Unfortunately, the album lacks a little of that psychedelic deviation, and instead chooses to quite politely proffer 11 great and concise songs, with a whistling instrumental mid-point.

A quirky best-of entertaining the inner child with tongue-in-cheek lyrics and psychedelic funky pop.

Although the material demonstrates Vek’s undoubted talent, Luck can’t quite match our hopes--or, indeed, the quality of its predecessors.

EX will neither enliven classicists nor win new fans. We need challenged by this artist, who normally thrives on doing exactly that.

For the most part, too, it’s an absolute joy, an urbane, witty, extremely catchy selection of three minute ditties, superbly well-written and expertly arranged.

Unified and complex, ‘Octane’ bolsters the aspects that drove him to Billboard heights, while also teasing out fresh ideas.

‘Aporia’ certainly asks a degree of patience from its listener – the kind often reserved for previously-existing fans of Stevens – to realise its full potential, but over the last few decades the number of listeners able to give this patience has grown exponentially, just in time for Stevens to push boundaries that bit further once again.

Some decent-enough songs on an overly long album mostly containing sub-par tracks from an artist capable of much more.

Playful and melodic, Clash suggests that you take this on a Norfolk country ramble ASAP.

Every Now And Then takes the form of a transcendental equivalent of the longest summer. Wavelengths stretch leaving you feeling worked over, fatigued and ready for a taste of something new.

With a hefty 17-track structure, ‘Sugar Honey Iced Tea’ is held together by its towering moments.

This is a band, ten years into their career, still at the height of their powers, rejuvenated and ready to show the world that you still can’t second-guess them.

Imitations comes at the right time of year: like autumn, it has a decayed feel. Yet, this is more triumphant than simply bleak.

BBF Hosted By DJ Escrow may be the most sarcastic record Blunt has put out, but there's real emotion here amidst the baby cries and union jack hover boards.

When it all comes together, In Rolling Waves is a thrilling, melodramatic ride through the regions where pop, electro and alternative rock crossover, and finally meet.

Hard to say when each track on this album is ridiculously strong in its own right. Much like the artist behind them.

While not breaking new sonic ground, the broad brush strokes of nostalgia rarely wilt.

‘The Night the Zombies Came’ isn’t an album for the uninspired or your average Joe – it’s a bible for the daydreaming visionary who finds beauty in the mundane.

This is music that stretches from the decaying rain-lashed estates of their home to the stars.

There is no doubting the power Roddick and James are wielding on ‘Womb’. The talent of Purity Ring as songwriters, instrumentalists and visionaries is clear to see – it will be interesting to see where the band can take their sound in years to come.

For all of John Kowalski and Rian Trench’s accomplished textures and impressive ’80s sci-fi sheen, it’s these [songs "Happiness Is A Warm Spacestation" and "A Sky Darkly"] simmering, slow burning heavyweights that give Supermigration the thunder it needs.

While the album is pretty much removed from her usual major pop moments, it’s more refreshing that way, and there’s more of a connective-unit feel to Positions than much of her previous work. After all, Grande has always been an album artist, and this one is yet another to whistle home about.