They've birthed a catchy and danceable summer record which shows plenty of promise but falls short of something great.

Some moments are impressive, like the eight-minute epic of a title track ‘Take Me Back To Eden’, which sprawls and writhes between textures and knows just when to spotlight frontman Vessel’s holy outpourings. ... But the issue is, this opus comes over an hour into the album, and follows a number of lengthy tracks that seem to be trying to do the same thing, but less successfully.

With 21 tracks on display, Lil Durk clearly has a lot to unload. He’s justified in utilising this length – he’s got a great deal to process, after all – but there are aspects that could be edited.

A bizarre little record, Music And Words was seemingly kicked off in 2007. With a seven-year gestation, it would be nigh on impossible to maintain a full sense of coherency, but the twin artists just about manage it.

While elements of ‘Every Shade of Blue’ may struggle to cut through its over-ambitious production value, the album is bound to translate well on the big stage regardless.

While it has it moments, Sheezus is largely devoid of Allen’s pragmatic charm of 10 years ago.

A project that stands on its own, a work of engaging individuality, ‘Jackman.’ is his best, most in-depth album yet. Literate, experimental, and emphatically rebellious, it’s the sound of Jack Harlow operating on his own glorious terms.

It’s a pleasingly considered and well-crafted project from a man who’s contribution to the UK music scene should not be understated. A man who has proved himself yet again to be a talented and versatile producer with obvious respect for the music that has got him to where he is today.

Kind is a heartfelt, fully realised collection of songs, embedded with optimism providing a much needed hope for our challenging times.

While the slower tracks are perfunctory, it’s the moments where he stretches himself – vocally and musically – that elevate the album.

In general Sirens is listenable and catchy, only it plays to an unexciting scene that is largely turning (like the victims of a Gorgon themselves) stagnant.

A sound accompaniment to a decadent dance party, ‘Hot Slick’ is a move in the best possible direction for PINS.

This might not be as immediate and catchy as previous Animal Collective releases, possibly due to Panda Bear’s absence, but its one of their most transfixing and beguiling.

The record is funky, it might sound good near some waves (the title is also a play on the .wav format for digital music files, which Harris is constantly sending to studios across the world), and the beats generally bounce happily along. It does what it says on the tin.

They've mastered the anthemic choruses; all they need to work on now is the consistency.

Running to an hour long, Magna Carta becomes exhausting, bumping familiar motifs with such frequency that, as the album nears its close, the senses feel entirely numbed.

It's a real shame that out of 18 songs whittled down from a reported 462, the album has just three consistently good songs.

If you sometimes need to reach for songs that make you smile, that deliver adrenaline or emotional balm, then you could do an awful lot worse than Everything At Once.

On this record Leftwich has managed to turn tragedy into uplift using a consistent sonic formula.

It’s clear that Coldplay retain their thirst, their passion for making music--it’s merely a shame that it results in such polite noises.

Low In High School feels confused, misplaced, and tedious.

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

At times, ‘Lil Baby 3’ comes close to grappling with maturity, but Lil Yachty’s version of adulthood feels distinctly shallow.

Playing it safe just a little too often, it finds John Legend in full flow, demonstrating his undeniable versatility – yet it can also appear to be covering the bases, offering breadth for the sake of breadth.

Unfocused, inconsistent and underwhelming, The Heavy Entertainment Show is homogenised pop at its most stupefying.

Not without its faults, In Plain Sight sees Honeyblood explore new avenues and break-out of any box they were previously placed in, with a genre-less collection of honest, futuristic-sounding songs.

Initial cuts from French duo The Blaze showcased their electronic influences, however with this new album they’ve gone above and beyond with their sizzling percussions, mournful vocals and trance-like sounds.

As a self-styled pop record then, Stay Together is something of a failure, distinctly lacking in hooks, entertainment value and any sort of real ingenuity.