The album’s first half sees Taye relish the experimental nature that first drew him to the scene, and to its defining Teklife cohort. When it works, it’s weird - but it definitely works. ... The latter half of the record serves a more straightforward (if such a thing is possible) footwork rinse-out. And it sings.

Instrumentally, the album maintains the similar Owen tropes we’ve come to love and expect.

On balance it's still a more than worthy addition to the New Jersey outfit's growing collection.

A solid album that despite getting into a more forward stride, does slow burner as patience tester.

Fionn’s great rocking out and full of energy, but here, just voice and guitar for most, he’s just so listenable.

Had it been trimmed down to ten or eleven tracks, then maybe we’d be talking about one of Green Day’s strongest releases. As it stands, ‘Saviors’ turns out to be a somewhat confident return to form, but one that also fails to build upon the records that inspired it.

Darling Arithmetic finds O'Brien continuing to fashion his sound in this cherished manner, the tales he spawns both introspective and impressive.

This new album pinpoints some of Ibibio Sound Machine’s singular charms, reflecting the band’s live energy back at them. A decade on from their debut, the band remain a force to be reckoned with, a noble fixture on the landscape of British music landscape.

‘April’ might not be as strong as 2016’s ‘Second Love’. The songs are solid but not quite as pristine as its predecessor. However, it’s understated melodies and melancholy laced lyrics still have the power to stop you in your tracks. This feels like third love.

‘C,XOXO’ isn’t Cabello’s brat moment. A lack of refinement and direction is the burning issue at play here, but she has succeeded in making an inherently fun record.

Amen & Goodbye is undoubtedly a strong return but also one that’s just a couple of tracks short of something genuinely great.

The album’s production works against it, however. Beyond proficient, it's so clean and glossy your attention slides off the album. You long for a little grit and texture to really bring the music alive.

At times Wolves' polished, pop-tinged punk sounds more like a proffered Pepsi can than a clenched Molotov cocktail, but it is still punk to its bones in a time when the label tends to be skin-deep.

Continuing to give airtime to these softer, more playful moments could see Showalter achieve greater success in mainstream circles.

It can arrest large scale arenas, and Matrixxman's Swiss Army Knife game is indisputable, though it's often used as a plot twist that's not necessarily relatable to the original story.

Employing a dense rack of synths, the opening tracks establish a slightly chaotic fug that the record gradually emerges from. And, once its found its feet, the album treads a pretty glorious path.

The sugar coated melodies and lush production give ‘Finally Over It’ a frictionless feel this time round, but Walker’s aching monologues keep things grounded in reality.

The band’s dependable grasp of instantly joyous hooks still shows no sign of deserting them, and Britt Daniel’s raspy voice continues to marshal the tight groove at their core.... Only ‘I Just Don’t Understand’ hits a truly bum note, sounding eerily like Beady Eye.

‘Hackney Diamonds’ is probably the Rolling Stones’ best album in two decades. .... Equally, while his status as a lizard-like, hip-shaking frontman of immortal prowess remains intact, Jagger’s lyricism – so often underrated – delivers a few clunkers here. The highs, though, are what fans are tuning in for.

Kintsugi hits hard due to its lightness, its bitter heart shrouded in soft arpeggios and catchy riffs.

‘Truth Decay’ is a mixtape You Me At Six have lovingly burned and placed into our open palms. It’s got tracks you’ll love, some you won’t, but there’s an undeniable charm throughout.

It feels unanchored and tremulous, without EITS’s signature drums--but it’s still beautiful.

A curious oddity, Moonlight indicates that there’s far more to Hanni El Khatib than meets the eye.

She’s now surpassed [her debut release] on its follow up Grim Town, which continues the themes of her debut, but with a new emotional growth.

First Serve holds no fear for newcomers, consolidates their legacy, and deserves at least one encore.

Cut And Paste is a well-crafted slice of guitar pop in and of itself, but it largely functions as a placeholder album that succeeds in stoking into life the flickering embers of a dying flame without ever truly reigniting the pyre.

So, whilst ‘Animal’ endangered no creative boundaries, there’s no denying that autoKratz track the footsteps of their predecessors with great panache.

It never quite transgresses those influences, yet in terms of sheer charm and bravura it places Olly right up there with his idols.