Even after several listens there's little here to really strike a chord with the long-standing Foos fan. That's not to say it's poor - it's far from that.

You can see how some might dismiss ‘Dream Get Together’ as irrelevant noodling (oh yes, there are solos herein), but if you are unphased by such concepts then you will enjoy this album a lot.

Will Young is in fine form and, on this evidence, about 70% great.

Wayne Coyne’s lyrics occasionally aim to capture some of the small-town desperation of a Bruce Springsteen or John Mellencamp, referencing go-nowhere greasers and bikers with names like Johnny and Tommy. More often than not, however, he reverts to his usual themes: spaceships, magic forests and the undimmed majesty of the milky way.

This is an album that strips Rae Sremmurd down to their bare essence. Removing any excess, it allows their contradictions to come to the fore, with sometimes fascinating yet always gripping results.

Devoted followers of Miles Kane and fans of indie music will undoubtedly revel in this fifth offering, undoubtedly finding exhilaration through its live interpretations. But beyond that, it falls short of finding a remarkable status.

The Race For Space has its mis-steps, but most importantly it shows that Public Service Broadcasting aren't a one-off novelty act, and that there's mileage in their approach.

If anything, the album is held back by his ambition--imprudent testing falls short of his usual standards. There are lessons to be learned here, and as a document of Tyler's growth, this may well be looked back upon as a watershed moment.

Although uncompromising in it’s vision and delivery, Stranger To Stranger ultimately, serves as another fine testament to Simon’s craft and ingenuity as a songwriter.

This album is going to seriously divide opinions across the spectrum, from the trvest of metal sugariest of pop stans. But Poppy remains a daring and divisive artist making daring and divisive art, and ‘I Disagree’ is the perfect shot of adrenaline to kick start a new decade with.

It’s difficult to see ‘Michigan Boy Boat’ winning over the doubts – sure, it’s definite progression, but it feels more like a reinforcement of core values than an attempt to reach out.

The three-year hiatus has been worth the largely triumphant return.

The lyrical framework in which he operates is fairly supple and improvisatory, though there are some surprisingly tender lines here and there. Structures and voicings are stripped back but viscid synths and odd, glitchy effects whir in the background.

Strong and raw instrumentation lays a varied and strong foundation for a subdued vocal performance that charms listeners into a relaxed state, in which you can float along to the soaring instrumentals provided throughout.

Despite being heavily influenced by the 80’s, Lost Girls has a timeless feel and is sonically pleasing.

While Innocence Reaches won’t go down as their best, it’s refreshing to see that Kevin Barnes and Co. are continuing to reinvent themselves with some of their most anthemic, accessible, and socially pertinent singles to date.

The Curved Line is a robust collection that finds McKeown going from strength to strength.

Not quite as developed or controlled as its parent album, ‘Vapor City Archives’ underlines the sheer creative nous running through Machinedrum right now.

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

Overblown yet elegant and intimate, this is a bold undertaking; arcane, abstract, absolutely remarkable.

There's nothing completely new here, but fans are sure to be satisfied, at the very least, until the collective's next album arrives.

For all their recent productivity and renaissance, A Certain Ratio are no closer to their zeitgeist moment. But with output as strong as this sitting alongside their back catalogue, they are all the stronger for it.

A great album and a fascinating document undoubtedly, but there’s no need to spend your hard earned on a boxset when the original does everything you need already.

There's clearly a lot of promise here, but drenching everything in reverb and letting blast on the arpeggios doesn't equal a fully realised record. The band's musicianship is certainly accomplished, but the listener occasionally needs a reprieve from its sheer wall of jangle.

Scorpion might not be Drake’s most innovative work, but it does help to cement 40’s status as one of the best, and most consistent, producers of our generation, and sees Drake breaking ground commercially if not creatively.

At just ten tracks, it’s an easy listen. Of course, some of them have more repeat playability than others, but there are none that feel like filler.

A perfectly balanced album that matches her newfound vibe as a woman ready to tell her truth. This album is a note that good things come to those who wait.

At this stage Warpaint still have their boots in two camps: the icy cool of their indie heritage and the open-hearted joy of the kind of music they clearly want to make. As the album progresses the vibrancy that decorates its first half starts to brown.