Largely shorn of the gloss which took him to stratospheric heights, it’s little more than man and guitar. The results are affecting, but – and this remains Ed Sheeran, after all – not devoid of schmaltz.

Living up to its title, Phantom Brickworks proves a spectral set, a fragile sounding record that confidently conveys the intent of its creator. It may not win him any new fans, and old fans may even be puzzled at the lack of sunny beats seen on last year’s ‘A Mineral Love’, but it still stands as a great escape for those who like to get lost in sound rather than riffs.

C’MON YOU KNOW is the broadest of Liam Gallagher’s three solo albums, and also the deepest. It’s the one in which he learns to bare his soul a little, and accept different influences.

The result is a compelling exercise in growth.

Unlike their first three albums, What Went Down arrives without any obvious standout singles and is a far cry from Foals' early energetic indie sound. On the other hand, it's impossible to deny that the overall album is a hugely accomplished effort from one of Britain's best surviving bands.

It's not a difficult or aloof album, but there is a cool precision that feels different to the choppy punkiness of old.

The only problem here is that the genre is taken to the extreme, and can blend together to the point where the album seems like one massive track.

When they're good, they are glorious and their enthusiasm is infectious, this band thrive when live but perhaps there's a little too much padding filling the, er, void.

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.

Being a tad derivative isn't a crime, however, and everyone needs an influence. What's important is that the songs are good--and they are.

Black Radio 2 is a good, albeit safe recording.

Brash and bold, its juxtaposition of fragile synth lines and uncompromising slabs of aggression make for a compelling, if not occasionally familiar, listen.

By the end of it, it’s very clear that this is a deadly serious record--not a parody, not even an homage, but a largely enjoyable marriage of the stodge with the airy and the old with the new which manages to retain an impressive sense of cohesiveness and consistency.

What we have in this album is a solid set of dance head-turners, but it narrowly misses the rubbed-raw rave charm of 2012’s ode to the 808, 'Transistor Rhythm.'

A jungle of genres, which includes an impressive throng of featured artists, from the moody and sultry ‘Ta Ta Ta’ which sees the somewhat controversial Travis Scott dip into focus, and infectious country bop ‘Change Your Mind’ which ushers in the likes of Shaboozey, to Rolling Stones rock icon Mick Jagger.

An early contender for this year’s big summer rap album, we won’t be surprised if we are still hearing about Honest when the winter cold returns.

‘Short n’ Sweet’ as a whole is a little less addictive than its lead single, and a little less sensitive than its predecessor, but it’s a solid entry into the Sabrina canon, with plenty of potential to sneak up on you with a gut-punch should you ever find yourself relating to it.

Another sign of the creative ripples emanating from London’s jazz underground, There Is A Place features some stunning playing with an abiding awareness of the power music can hold.

While it lacks the untethered aggression of past efforts, there’s a mean underbelly to tracks like ‘Beverly’ and ‘Howl’ that makes up for this.

Folk textures such as these can sometimes fail to stand out, but Williamson’s powerful vocals practically beg for attention. Either way, even if the idea of country influences doesn’t sound the most appealing, there’s something so alluring about Williamson’s serene tunes that it’s a worthwhile and lush listening experience.

Although at times the sound experiments can feel too inward-looking, Howard balances the darkness and lightness of his palette with relative ease, producing a record of imaginative depth and danceable surface.

The first few tracks revel in the heady days of a budding relationship, all stolen kisses and duvet-cloaked promises. But as the seasons flutter by the untenability of their situation gradually dawns on our two lovebirds.

Still flaunting in the grunge realm, the overall result is tough, yet accessible, including some deeper moments.

‘Now or Whenever’ is more of a grow-er than a show-er but has much to show for itself.

A surprisingly cerebral triumph.

Money, manipulation and vaguely unhappy mediums haunt the album's lyrics, though indistinct phrasing and a blearily subdued vocal mix make these themes feel like peripheral, subconscious murmurings.

The execution may at times be slightly slapdash and a little heavy-handed but the message is still there.

This is an album that shows a progression, but instead of delving deeper into harsh sounds, they have gone the other way, delivering something that feels light and fluffy but has the same lyrical hit as their debut.