Tracks like ‘Feeling Good, Feeling Great’, ‘High’ and ‘Guillotine’ feel soulless and lack the gusto that DZ Deathrays have shown through their live shows and previous releases. Albeit brief, there are glimmers in which the duo capture the visceral and angsty essence of their past through the tribal ‘Back _ Forth’ and closer ‘Witchcraft Pt. II’.

A record that feels very much like a side-step, ‘Me vs Myself’ contains little of the soul-searching that the title suggests.

The album is littered with so many clunky lines and cliched conspiracy talk it almost becomes laughable, but the main problem is with the narrative itself which makes next to no sense at all.... Luckily, a good sizeable chunk of this album is good enough to stand alone, stripped of the high-minded concepts.

The lyrics can spill into the realm of over-earnestness at points, but overall this is slick and dancefloor-ready.

A notable and accessible triumph.

While they felt the need to force the issue, beneath those jarring, incongruous riffs lies some rock ‘n’ roll of the purest kind.

Hard to fault but not the progress we hoped for.

It's got a sweet, easy intimacy.

Maybe he (and it will be a he) should approach ÷ with more of an open mind, because it’s packed full of tunes that have an undeniable quality and mark the point where Ed Sheeran goes truly stratospheric. It’s less ÷, more conquer.

Although this album does replicate almost everything they’ve created it has that sense of maturity about it, showing that over the sixteen years they’ve moved on from their rebellious teen stage.

Of course groups should look to change and evolve, but this is solipsism at its worst.

Dark Sky, three shape-shifting bass heads from London, have turned in a belter of a debut album.

Emerging from a phase of growing pains and fitting perfectly into the mould of an awe- inspiring frontwoman, Baron-Gracie lays bare everything from depression and darkness to clarity and optimism with her mature songwriting.

Punchy, peppy, and undeniably positive, ‘Keep On Smiling’ is an exuberant and life-affirming ambitious album that demonstrates that if in doubt, you have to choose happiness.

One for the fanatical only.

Rag ‘n’ Bone Man has returned with a fine new album that allows fans to fall in love again.

Although this is his first foray proper into the medium of electronic music, it's a masterful accomplishment.

There's still not enough testosterone on display for it to count as one of their very best, but it's not half bad.

Taking their time means the album has a thoughtfulness and maturity about it that is often missing from debuts.

An impressive debut.

The highlights on this project are the glimpses of musical experimentation, but unfortunately the album doesn’t have enough of these to really shine.

Imbued with a rupturing rave-punk sensibility.

This album might satiate the seasoned Kasabian fan, but for anyone else it just comes across as the dated output of false prophets.

This album might not carry the sub-woof weight of its predecessor but it carries the icy menace of producers at the peak of their powers. Cooler than a liquid nitrogen drip.

While this fifth album contains icier, rather Fever Ray inspired electronic soundscapes, frontman Paul Smith’s eccentric tales of nocturnal sports and deceased poets are mostly backed by the angular pop production fans of this band have come to expect.

A work of subtle progression, its evangelical appeal is dimmed by the familiarity of those colossal singles. As fuel for the continuation of Justin Bieber’s mission, however, there’s much here to reaffirm your faith.

A deeply mixed return, then, and perhaps not advisable as your first entry point to his solo work. We all know that Ian Brown can make waves; today he has chosen to make Ripples.

Admittedly it’s hardly a new approach of lyricism, but when something classic is done well it’s hard to discredit.