Tonight... isn't a bad album by any means, and it's certainly an improvement on their last effort, but at the same time you can't shake the feeling that they missed a trick.

Looking back on traditions of the distant past and moulding them within a modern sound and context, it marks a striking release from an artist that is still surprising and innovating deep into their career.

For all the humming and picking, the songs feel too similar to each other to hold interest throughout.

Greenfields is a fine reminder of just how legendary a songwriter Gibb is, and while there’s no big surprises contained within, a Volume 2 would be a very welcome thing.

Familial is a solo album that has qualities you might not have expected to begin with: vivid, memorable lyrics that describe a variety of emotions, its incredibly soft arrangements and, of course, the fact that he can actually sing, proving wrong the famous 'drummers are not frontmen' rock'n'roll myth in the process.

Ignore the occasionally terrible lyrics (rhyming artist with “fartist” for example) and The Painful Truth contains some of their most heartfelt work.

Fast Food is a well-defined and powerful musical statement from an artist enjoying her time in the limelight.

Red Kite is bound to be a hushed, understated, and at times rather lovely soundtrack for the (hopefully) balmy summer days ahead.

Those seeking the mellower vibes of his earlier work may be slightly less enamoured with VEGA INTL. Night School, it’s undeniably a record that’s confident, intelligent and above all, fun.

With music sounding this raw, vibrant and strikingly different to the current generation yet achingly familiar to those that will remember the original post-punk era, Viet Cong have tapped into something exciting, something too big to be contained in a Canadian city most famous for winter sports, and something that could just be the tip of the iceberg for yet another intriguing Canadian act.

There’s a lot to take in on Tableau – maybe, at times, almost too much – but it’s another solid record from West Yorkshire’s very own experimental art-poppers.

Detours may not be the most musically edgy album you'll listen to this year, but there aren't many people better at producing radio-friendly rock/pop.

While as a whole it’s disjointed, and the variation could hinder its success, Arbouretum have undoubtedly released another good album.

Pierce is clearly most comfortable when working in hybrid idioms that challenge preconceived indie-rock formats. When he is operating within those very constraints, the results are far less exciting. Luckily, this album tends to favour his natural operating zone.

Shake Shook Shaken may not be an unqualified success, but it certainly does what its predecessors couldn’t--it marks out The Dø as real contenders to keep your eye on.

No Mercy In This Land sits somewhere between the the classic blues records of BB King and the mellow folk tunes of bands like Angus and Julia Stone. Whether you are a die-hard blues fan or just after a narrative driven and emotive album, No Mercy In This Land has something to offer.

Not every song on . works, with FREEDOM.’s disco-ish production feeling decidedly amateurish and the songwriting on TOO HARD. leaning towards generic, but there’s still space for a highlight like RED FLAG.. .... Indeed, tracks like this could be the start of a new chapter for Kesha, with more creative freedom and her infectious sense of fun intact.

It is an oddly affecting and [Dark Destiny is] a neat way to close out an album that, despite dropping the odd clanger, pillages the '80s with considerable style.

The songs are generally short, befitting a short release, and sometimes the structural choices feel a little eccentric because of it, for example the abrupt end of Chills Me To The Bone. At times like this there’s a feeling that more could be done with the songs to make them feel complete, but as it stands Fall To Pieces is an intriguing sampler for Tricky’s present-day sound.

Vicious Creatures is a sometimes uneven, but never less than intriguing, listen, and kicks off Lauren Mayberry’s solo career in impressive fashion.

Overall, this is just another Ozzy Osbourne solo album, for better and worse. It succeeds in its rawness, its slapdash cobbling together of predictable riffs and lunatic poetry.

Salute is an undeniably solid album, and has a lot more going for it than similar efforts from many of Little Mix’s pop peers this year.

There’s a nagging sense of the need to develop things further and mesh the mechanics with the human to create a beast that is more than the sum of its parts.

It's a record for parties, for escaping the grind, and for enjoying your relaxing drug of choice.

There’s very little here to dislike, so stick it on loud, turn off the lights and sit back and enjoy.

The Republic may not be an album that will make headlines but it shows a musician immersed in his art achieving a real consistency and equilibrium of sound.

On the evidence of The Glow, DMA’s are more than ready to stand on their own feet, with a sell-out show at the Brixton Academy having already confirmed. Welcome to the party.

It makes for a palliative record, to put on loop after an hour of Top 40.