It reminds us of the power of love, hope and indeed music can overcome those dark days and the importance of trusting in the universe and more importantly yourself.

Although Supermodel is derivative, it’s more often inventively imitative, rather than devolving into out-and-out mimicry.

Moments of the Jacknife Lee-produced album are assured--Gary Lightbody over-emotes particularly well on the maudlin "Life-ning" and "The Symphony" is rightfully pompous--but the uneasy truth is that Snow Patrol are merely background dinner party music for accountants.

Continually criss-crossing over itself, ‘I GOT ISSUES’ remains terrifically entertaining. ... Perhaps uneven, the record’s 14 track span provides room for growth.

It wears thin over the course of an album, and an appreciation for Eighties synth-pop is a must, but for a band in their thirty-fourth year, the League are still on good form.

Self-produced and melding electronic elements to their more conventional methods, this is a record by a band that has fallen in love with making music again.

I Love You, Dude feels as blunt and oafish as its name, and weirdly dated in its sonic palette. Sporadically engaging, but sadly nothing more.

Unfortunately, the album barely reaches the most reasonable of expectations. The strength of their flawless magnum opus, 'Better Than Love', overshadows every other song on the LP.

This is Dashboard Confessional in 2018: still as charming, still as cathartic and ultimately every bit the record you want it to be.

RL Grime seemingly wants to keep everyone happy and while that approach will almost certainly find success in the clubs or the fields of Coachella it often hinders rather than helps his studio efforts.

While ‘PANORAMA’ at times feels repetitive, there’s certainly moments that smoulder with passion, sparkling with Kiyoko’s signature charm.

Loaded with fan-focused extras, this three-disc box set comes with all the extra demos, b-sides and alternate versions you could ever need. If anything, it’s a timely reminder of just how many tunes Oasis had at their disposal. A salute, then, to great times gone by.

The vocals of singer Sarah P take At Home to an altogether more ethereal plane.

What results is an impressive set of dark dance music that plays equally well at closing time or through your headphones at night.

Stereophonics don’t have the lyrical potency of their earlier incarnation, often erring on the side of grand generalisation--as is the way when you have to appeal to enough people to fill your next arena tour. But frontman Kelly Jones has got one of the damn finest voices in rock ‘n’ roll, and that’s surely worth the price of admission in itself.

It feels as though experimentation was at the centre of this record, with digital soundbites and electronic instruments at the forefront of many of the tunes, yet still beautifully intertwined with the traditional line up.

Overall, No 6 Collaborations Project is an eclectic mix of songs, some familiar, some forgotten after the first listen and some deeply impactful.

The main problem with ‘Changes’ is that it isn’t exciting or dynamic and suffers from dragging in places. Part of this is down to the lack of variation on the album.

Though Emerging Adulthood does push Croll far out of his personal comfort zone to a certain extent, it does feel like he could go further with the complexity. Nevertheless his musicianship is undeniable, as each and every instrument on the record is played by himself.

'Electra heart' is an ingloriously languid statement of Marina's demise, the final stamp of disapproval on her flailing excuse of a musical career.

Dark, deluded and dangerously danceable, Paris Suit Yourself are the inspiration for wild dance floor seizures, or, at the very least, lucid gonzo dreams.

the way Technology compromises on solid songwriting in favour of material that’ll evoke carnage in a live setting is detrimental to the album as a whole.

While there’s nothing really here to ignite a flame of revolution, or indeed get fists in the air to be honest, Peace Trail sees Young doing what comes naturally, soundtracking tumultuous times with some confident and easy songwriting.

Easy to absorb musically and easy to ignore lyrically, Loud Like Love is 50 minutes of simply okay alt-rock.

The Time Is Now hangs together relatively well, and achieves what it sets out to do.

Why You So Crazy? is a mixed bag, but the scales are tipped too far towards the underwhelming. Too much is poorly executed and feels incomplete, with an air of self-indulgence.

Their commercial star has long since waned, but there is enough here to suggest that Gomez's creative light still flickers on.

The production is an expertly judged combination of radio-friendly pop and club-influenced, sparse trap beats. Iggy’s the real deal.