Although it may often be breathtakingly evocative, Ancestral Star is a record that many could admire, but few could truly love.

Good Morning To The Night is not going to reinvent the wheel, provide breathtaking new revelations on Elton John's back catalogue or shine new light on Pnau's songwriting abilities....But for all of that, toes will tap.

While not a failure, Uncanney Valley isn’t the glorious comeback many were expecting.

While being pleasant and listenable enough, Pink Graffiti simply doesn't do enough to set itself apart from the post-chill-glo-surf-wave-fi trend, which is ultimately its downfall.

There’s nothing on Overdrive that’s going to change your mind about Shonen Knife; if nothing else, it’s impressive that they’ve managed to spin so many records out of such a derivative sound.

It’s with a sense of relief then perhaps that Revolution Radio, whilst feeling a little like a pastiche of their forms selves, sees the trio steering a steadier course on more reliable ground.

Ultimately the riffs and hooks aren't up to the standard of previous Coombes-led outings, and whilst the textured soundscapes can help disguise this slightly the reality is that the majority of this record, whilst occasionally interesting and certainly surprising, is just ... a little boring.

As well as they’ve delivered The Teal Album, they don’t quite hit the mark with every one of its takes, with their version ‘No Scrubs’ feeling more than a little bit uncomfortable.

Unfortunately, despite its improvements, the album still suffers from lackadaisical and unfocused songwriting. Sure, this record is quite a bit better than the one originally released, and kudos to the band for taking the time to prove their point.

Starboy is fine, it’s grand and it will do, and it really should be so much more.

There’s a nagging feeling that those derivative misses aren't so much accidental misfires as born out of a writer keen to remain free of the pressures of success. That prevents a promising record from being as good as it had the potential to be.

God is Good is a more confused creation, more like two EPs than a concerted record.

This is something of a missed opportunity.

While the songs on their third recorded set are confident, compositionally astute and capable of slotting into any indie-disco DJ’s mid-set surge towards an electric peak, they more often than not sound like the sum of parts, rather than the frenzied party jams deployed by the band at their scintillating live shows.

In spite of its moments of charm, it’s a far cry from being either a fun retreat into 20 years ago, nor is it any indication that Weezer's reputation will be in better health 20 years from now.

Overall the LP falters too often.

In many places, this record sounds and feels like a migraine captured on tape, and that is not a pleasant experience, nor is it meant to be. Unlike the more luscious, shoegaze influence that's pervaded Black Metal in recent years, this feels like an absolute rejection of that, being as difficult and painful to experience as possible.

To sum them up in one word, "reliable" would be the most appropriate.

Album three in Chromeo's discography, it sees a return to the Eighties electro funk upon which they made their names, albeit stripped down slightly.

Although there’s a vogue for the vintage production techniques and comfortable imperfect noisiness that pervades the record, it doesn’t always do American Wrestlers justice.

Ironically, listening to most of EX feels like watching a film with the sound turned off.

Whether they choose in the future to extend their reach into more abstract or formless areas is up to them, but there are signs here that it could be fruitful for them. Nevertheless, as a debut album, Mechanism displays two musicians with a clear facility for evoking visual landscapes and narrative drama.

Violens have achieved their sound and successfully executed their technique, but are still wanting for purpose.

It may not be perfect, or even great, but Pete Doherty has somewhat surprised with Hamburg Demonstrations by proving to a world increasingly less interested in his antics that, when given the chance, he can still pen a tune or two. Maybe just try including a few more 'bangers' in the next album Pete, eh.

It’s not a step forward, really, it’s a step to the side. There are still hints of the pop star Zayn was drowning out the RnB icon he wants to become.

As a rule, Dove meshes into a good album that might be accounted a small disappointment if this was 1995, but is a pretty spectacular accomplishment for a group of semi-retired musicians in their fifties.

While there are some moments of transcendentally dazzling pop nous on display on Hunger, it is, fundamentally a cosy, harmless record in a retro stylee, made by an all accounts pleasant bunch of musicians who have enjoyed a fairly smooth --by today's standards--ride to where they are now.

When it's good, Rhine Gold has got everything you want. There's ambition, surprise and innovation. It's just that it feels like COYB go on autopilot at certain times, which detracts from the album as a whole.