There’s plenty to discover here on a diverse record that takes a lot of interesting turns, and while there are some unsuccessful moments, there’s also plenty for indie-pop fans to get their teeth stuck into.

It’s a lot of… well, not much; a studio folly of sorts, (unsurprisingly) impeccable in sound but meandering without direction for the most part.

In fully embracing theatrics, their new wave leanings, and the unquestionable punk legacy, the band have landed on a sound both contemporary and unmistakably theirs.

‘Heart Tax’ is much more expansive, and has her spreading her wings in a number of different stylistic directions whilst maintaining her trademark hypnotic rhythms as a through-line with which to tie everything together.

There’s something pleasingly straightforward about this self-titled debut record from Goddess.

'Magic Hour' is an album that equally frustrates and enthrals. The collection of excellent electro pop tracks show the band still know their way around a melody but the album is let down by a few too many tired and morose ballads and witless appropriations of chart successful sounds.

The uncompromising rave punk spirit that has driven them for over 25 years seems stronger than ever on a record that will delight old fans and capture a whole new era of angry youth.

The tracks are less punchy than before and perhaps more subdued, though this is the sort of music that needs to be immersed in and often takes time to truly appreciate.

Too often This is Acting is steeped in unimaginative cliche, and leans too heavily on familiar pop tropes in a way that her previous solo albums did not.

It's almost as if the songs were constructed by way of algorithm.

hat this soundtrack does most though is demonstrate the versatility of the duo, proving there is far more to Summer Camp than just sunshine and lollipops.

Doherty’s latest solo effort sounds very much like a solid Peter solo album; rambling studio chat snippets, mentions of Arcadia and all. You know how it goes.

Sonically, it’s extremely impressive, and almost every song sounds massive. The cavernous sound suits the intensity of the band’s delivery.

Every song seems to journey through a multitude of genres and eras while remaining coherent.

Minus The Bear may have returned to the style that made their name, but there is still enough mileage in that sound to ensure that 'Infinity Overhead' is a marked improvement on their previous album.

The Coral may have been at this game for nigh-on two decades but there’s scarcely a moment here that seems tired or phoned-in. Instead, the Wirral lads have added another fascinating work to their canon.

Sure, it’s a sound that at times can be guilty of slipping into little more than a background beat; the kind of thing you’d half listen to at two in the morning on Kiss100 cruising down a deserted motorway. This is not necessarily bad, just evidence of a sound that reflects the era it embodies.

Young Magic borrow influences from all over the place and transform them into a sound they can proudly call their own.

It's sometimes a difficult listen, there's a lack of lucidity and guile that at times leaves the less striking tracks to come across rather samey.

Fair Youth is the perfect example of how to get post-rock instrumental music right.

Kintsugi sees their eighteen-year-in-the-making intentions fully realised, and--eight albums in--Death Cab For Cutie are born again; a little cracked, but all the more golden for it.

The record doesn’t achieve a great deal in saying anything new. It’s far from a disaster, though. ... The main issue with Amnesty (I) is that Crystal Castles needed to say something different.

Gardens + Villa undoubtedly have many toys at which they're more than adept at manipulating--just a shame there aren't better songs for them to adorn.

House of Spirits is a half-success, showing promise and ambition but lacking both the direction and the songs to be anything but a minor addition to the band’s catalogue.

All in all, it's interesting but frustrating in equal measures, however it is sure to please fans who know what they're in for.

Perhaps not perfect, but a recovery position from which Two Door Cinema Club look primed to soar once more.

Dry wit and effortless elegance run throughout, which makes cinematic, poetic wonderment out of eye rolls and humongous sighs.

Though Bones is almost as dramatic as a standard week on Albert Square--occasionally to its detriment--it’s also impossible to fault this album’s single-minded pursuit of sheer, maxed out saturation.