Sometimes they feel almost too airbrushed, with Mabel playing it a little too safe to qualify being described as wholly original or progressive. There are moments of talent and flair, but it would’ve also been refreshing to hear more personality (and less autotune). Nevertheless, it’s an album that contains some real highlights.

‘I Love You So F***ing Much’ is a bold return from Glass Animals, at times it feels that the concept slightly overpowers the album, but overall it’s a confident and well-crafted album that feels like it could be front and centre of an eclectic sci-fi soundtrack from the eighties.

A sprightly ten-song set which could easily stand up to anything released in the ‘80s.

Separation is writ large across the themes of Ghost Stories--and knowing what came next in Martin’s personal life, perhaps that was always to be expected. What’s not is just how lifeless so much of this material is, how instantly forgettable these songs are.

‘Small And Silver’ is a welcome break around the halfway mark, when their stock in trade is replaced with unsettling bass and an off-beat production. However, it’s only a hint of a promise to explore new territories and doesn’t go far enough to vary the album.

Soft Control is a carefully crafted debut that comes from a very real place and shows what can be achieved when you keep pushing forward.

Meteorites is the sound of a once-great band bursting into flames on re-entry.

A grandiose, instrumental finale, they're a reminder of the divinity that Moby was once capable of.

There’ve been worse assaults on the ears, that’s for sure. But for fans of the original eski sound, it’s a shame that Wiley has his eyes fixed too intently on his Ascent.

The result isn’t always beautiful, but it’s rarely dishonest.

At times the sonic influences can feel a little too obvious, but that is balanced by the undoubted highs, and the frank openness of his lyricism.

Ever mutable, always evolving, never anything but relentlessly restless.

Despite some angsty missteps, the reverb-soaked ‘Neon Bedroom’ confirms that the band’s talent for transforming the ordinary into the epic remains.

A bold and confident sixth effort.

Hurts have always been pretty unabashed about their mainstream ambitions, which is fine, but as they explore them further, it becomes easier to strip away the affectations and see them for what they truly are: a cheesy pop band.

Everyone involved on this slab of hertz has brought far too much to the table over the years to dismiss this and the record really works.

The majority of Grateful is forgettable at best.

Not a great pop album, then, but certainly the product of a great pop star.

Battle-hardened by lengthy tours across the land and beyond, Pale Waves bring that energy into the studio on a crisp, effervescent debut LP.

Plays it safe, doubling down on the formula that made his debut so beloved by fans, while making only subtle changes.

There is a maturity to this album, however it is still uplifting and fun, to an extent. However, maturity can only take a band so far so we are hesitant to give them credit simply for ageing (and learning while doing so, of course). What we will say is that the brilliance of ‘Rushmere’ comes from the Mumford & Son’s sheer talent and hard work.

With Glorious Foxes has made a pop album that, despite occasionally drifting into melodrama, serves as an enjoyable listen stuffed with genuine pop-gems, sun-baked choruses and enough bite to warrant repeated listens.

At 57 years old, a more than successful career in the music industry and an army of fans behind her, Mrs. Twain would well be within her right to hang up her boots, but she has certainly left us wanting more with ‘Queen Of Me’.

Aubrey Graham hands over his fifth project to cross 80 minutes, an hour and a half smorgasbord of all-new tracks. In his defence, the Drake cuisine is far too extensive and varied at this point, but this dilemma has been around for a number of years now and some sort of sacrifice for a better, more cohesive project has to be made if he wants to release another classic.

Their interpretation of Barrett Strong’s ‘Money (That’s What I Want)’ and the mysterious sounding ‘Fever’ brings a different dimension to these classic songs and breathes new life into these and other legendary songs.

So many of the risks taken are either unevocative or plain annoying, particularly when the tracks are structured with so little sense of development.

Moby’s attempts to paper over a demonstrable lack of songwriting inspiration with grand string arrangements and a sequence of guest collaborators only emphasises the tedium here.

The witty words about awkward relationships come straight from Art Brut but 'Fixin' The Charts' is also a response to classic American pop songs, with modern sequels to Motown, Dylan and, er, Kanye. The downside is that the songs are so melodic they make it sound like Argos is doing karaoke.