The album shows The Cult taking their musicality, sonic tricks and experience to a new place, still retaining their identity, and this can only be a good thing.

[The album] adds - for the most part - a more expansive dimension to their sound.

It’s this tight-rope walking of pop-maturity, moment-capturing awareness and beauty-in-simplicity attitude that has aided in Seinfeld’s rise to the top of the dance music ladder, and has helped him shape a record that showcases exactly where he is sitting in terms of sonic aesthetic right now.

While some moments may be a little theatrical, the astounding musicianship and production pulls it back, from the thick woodiness of clarinet and raucous cupped trumpet to the unbelievable percussion and strings.

It’s an unabashed pop record that anyone should be proud to play at full volume.

‘Stardust’ is more fun than it is masterful.

It's easy listening, while thankfully having nothing whatsoever to do with the much-maligned genre of the same name--and the sort of fascinatingly layered album that appears demanding and austere from the outset but is in fact home to a set of beautifully realised songs.

These are mostly decent songs but the lyrical landscape feels wearily well-trodden and it’s hard not to just want a bit more from an artist with the freedom to risk anything.

You’re left wondering what impact ‘AUSTIN’ will have on his fans, and on Post Malone’s future work. Is this a one-off deviation, a resetting of the dials? Or will these acoustic templates become his bedrock? Whatever the future holds, this is an album that dares to buck trends, and at its best can be genuinely moving.

‘Euphoric’ sits as a colourful sideways step from a talent we’ve long since learned to cherish.

'Ordinary Man' is far from perfect, but all Ozzy Osbourne's solo releases tend to reflect their creator's flaws to one degree or another. It does, however, absolutely succeed on its own terms, serving its purpose by reminding the world just what we'll miss when this titan among titans finally departs us for good.

It's an optimistic, romantic and frequently lovely record.

The rollercoaster ride of his delivery makes it an enjoyable experience rather than a textbook headache.

Though it might be lacking in the amount of quintessential indie floorfillers that we’ve come accustomed to with Peace, Kindness Is The New Rock And Roll shows progression.

The punchy indie exuberance pervading this record is its calling card but beneath the surface there's a whole lot more going on.

This may be the sound of an artist working with a formula: a formula that is certainly an effective, endearing one, but a formula nonetheless.

With his debut, Styles manages to escape the notorious curse of former boy banders, turned leading men, creating an immersive, reference-fuelled tribute to classic rock for the millennial generation.

Lower Than Atlantis may have already released a self-titled album in 2014, but it’s the follow-up that sounds more like them than any of their other records.

Blink remain true to form, even throwing in a few sub-1 minute swearword screamers, but with the band back together and continuing to go through life, it seems their form is grounded in something firmer.

It’s a bit less frenetic than previous material, but across ten songs Thomas leaves his unmistakeable sonic signature with auteur-like precision.

Splicing the spirit of ancient Viking alcoholics with some red-hot Jamaican jah, BSP are finally having fun.

Far from a departure, it's more the continuation of a recurring theme--but one that isn't half bad at all.

Despite the promise of impending doom, ‘Who Wants to Talk About Love?’ is a free-flowing, acoustic dream – a true testament to Bird’s dedication to her craft.

González hasn’t changed much since his 2003 debut ‘Veneer’ but his fans won’t be disappointed by his new project and will surely be glad to have new songs after waiting six years.

‘Higher Than Heaven’ is a pitch perfect return. Following her excellent 00s channelling Calvin Harris link-up ‘Miracle’, Ellie Goulding is on her best form since those epochal blog era bops in the 2010s… and we are here for it.

A gradual evolution, then, and all the better for it.

Honest, uncompromising, raw and restless, it's a rock album of some distinction.

Individually the songs are great, vibrant and bouncy. However, together it can get a bit too draining. Now, I’m not saying that this much pop is a bad thing – the album is a delight to listen to, but there is a lack of variation in both sound and texture as it’s all so IN-YR-FACE.