Any one of these songs has the potential to be a dance floor filler and that's what they've been designed for. There is nothing too original here, nothing big nor clever neither, but then if you like guitars and songs about teenage love you're going to be well catered for.

A brave experiment then, and more than likely a fabulous live experience too, but ultimately more of a novelty for the curious than an essential purchase.

Overall though, Stith’s second album retains the frustrations of his debut. The songs feel fragmented, with lots of memorable moments--a gorgeous chord change here, an inspired juxtaposition of sonic ingredients there--but very rarely are they memorable as complete compositions.

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.

Overall, Feel Feelings represents the complexity of the human experience in that it’s not perfect, however the work put into this album is undeniable. It can be hoped that for her next album Soko continues to, indeed, feel her feelings through her music for us to enjoy.

The Hospot may be a fictional place, but Warmduscher have created the kind of soundtrack that makes it feel like the kind of place we’d all want to hang out in.

More than half of this album is mind-blowing, so it would be nice to leave Sholi with a brain buzzing with that same intrigue, confusion and happiness.

It all stays just on the right side of self-indulgent, although like most albums consisting mainly of cover versions, there are peaks and troughs.

Sudden Elevation is yet another solid display of Arnalds’ talents and is arguably the LP that most newcomers to the singer-songwriter should arrive at first.

It's one of the finer conversions of 2011, managing the delicate task of crafting a record that sounds both incomprehensibly universal, deeply personal, and, yes, endlessly listenable.

It's Tesco shelf filler, it's Father's Day fodder, it's the stack of cover versions every lazy advertising executive is craving now that Please, Please, Please Let Me Get What I Want is all played out.

Repentless does possess a few standout moments but, whilst Slayer’s return is welcome, there’s little here to suggest they’re ready to push on and dazzle their fans with something mindblowing.

Fans will be relieved that after such a protracted labour Strangers To Ourselves has emerged in surprisingly good shape, even if it lacks the robust conviction of Modest Mouse’s best work.

Too much of the album simply plods from dreary verse to dreary verse.

This album of covers brims with intensely organic and engaging moments, breathing new life into songs that could've just hung out like tired old windbags.

Rossi has worked well with producer Steve Albini to clean up the tracks, and pick up the pace, making them sparse and wonderful, like intricate machines.

With fewer studio effects and electronic twiddles, Crash Love is a simpler rock record than its US number one predecessor "Decemberunderground." If anything, it's better however, and shows that while fusing goth, punk and pop doesn't need to be rocket science, when AFI are involved it's very definitely an artform.

Miller has done a decent job here; there’s nothing particularly striking or eye-opening about the album or its songs, but their simplicity and Miller’s all-round talent suggest some real promise.

It’s A Pleasure ultimately comes across as slight as its deliberately platitudinous title, but Dury remains an intriguing talent who’s worth following.

Exceeding an hour in length, though, some may find it a little too lacking in variety and be soundly asleep before the end--which would be a shame, as it’s one of the better psychedelic albums to reach our ears this year.

Whilst Ash's signature energetic punk-pop pastiches are very much in evidence in the shape of "I Started A Fire," "You Can't Have It All" and "Princess Six," it's fair to say that they have managed to explore acres of new territory.

We'll settle for saying it's a great record. Full stop.

PINS give the impression of enjoying themselves while not taking this whole rock ‘n’ roll thing entirely seriously. Just seriously enough to make something really fine.

Here We Go Magic have made a fantastic album that is at once inseparable from its Brooklyn beginnings and transcendental of its place in time and space.

The songs on Once Upon a Little Time bloom as slowly as lotus blossom, their graceful colours and subtle variations revealing themselves gradually.

There are some amazing moments on this record; it's a crying shame that they're linked with the sound of a band treading water.

Flux is a qualified success, then – an ultra-cool album of moody music to listen to in ultra-cool places. Even if you might not be emotionally heated by the end, it subtly makes its mark.

For new fans, this is a pretty good introduction. For fans who already own all his previous work, it's more of the same, but so well-crafted that they probably won't mind.