If your taste leans towards slightly sugary and celebration of all things romantic, then you’ll find a lot to love here.

There’s plenty to enjoy in Uptown Special, even if there are some tracks that end up sounding insubstantial and a bit unsatisfying. If you’re looking for a party album, there are songs on here that will sound fresh for the rest of the year and beyond.

It says much for Felice's talent that in only briefly showing his scars he can still make a commendable album.

These are songs recorded tens, if not hundreds, of times before, and are by no means definitive versions, but in the attempt to capture something of the historical importance of the railroad, Shine A Light’s songs tell their own story; one which will prove excellent company on any similar expeditions, whether across the plains or the 08.16 to Euston.

This is a solid record from a talented producer who is well worth keeping an eye on.

LCD Soundsystem's many fans will want this principally for the bonus tracks but will probably already have the rest of 45:33.

This might not be the album that sees them break through, but it is a fine body of work from a pair of musicians embracing the thing they love most.

While it is ever-so-slightly patchy, it would be unkind to suggest that Wild Peace is anything other than an impressive debut.

Shelter has plenty of moments of understated genius, and it’s fun to watch a producer find what works for him or her as their game just begins.

Aviary is not a great album--it’s too much of an ordeal for that accolade, requiring multiple listens to even start to engage with meaningfully. But it is, in its own idiosyncratic way, a towering artistic accomplishment. Just be prepared for a hard slog scaling the summit.

It’s an album that wanders a lot, but every now and again can hold you spellbound, much like Hersh has been doing her entire career.

He certainly manages to squeeze a lot of words in to this mercilessly concise album. Sometimes the results are touching, sometimes they are perplexing.

There are a couple of songs that feel a bit like half-sketched filler, means that Williamson’s fourth album may not come across many people’s radar. Yet for those who do chance upon it, there’s much to enjoy.

This record is recommendable to the happy, the loved-up, the chemically-stimulated and the drowsy. If you’re one of these, Awake could be the record of your summer.

It may not be the liveliest 35 minutes of the year, yet it’s filled with memorable imagery and some heartbreaking songs. For anyone who’s never heard any of Marissa Nadler’s work before, For My Crimes makes for an excellent starting point.

It’s undoubtedly a confounding and unorthodox piece of work, but its artistic integrity and single-mindedness still manages to ensure PJ Harvey somehow comes out of it with her reputation enhanced.

Exorcised of the dud tracks, Unbroken is a streamlined pure-pop winner, but ultimately it cannot measure up to Lovato's contemporaries.

Flood may not have quite the impact that her debut did, but it ably demonstrates why she’ll be around for many years to come.

While some of the studio tricks are a little too familiar, the band is clearly re-invigorated and, unlike like the last fractured Garbage offering, the result is a cohesive collection of sharp, aggressive songs.

There is no pandering here, with Springsteen and the trusty E Street Band rocking and rolling with free abandon and sounding like they thoroughly enjoyed every single moment recording the album.

Throughout the album's remaining 13 tracks, the experience is not unlike watching a flower bloom in time-lapse; this one's about Keys stepping away from safety, and the whole thing benefits beautifully from her sense of daring.

The record is blitzing, happily ludicrous, and plenty of fun for a while, but at the core there's Gaga, singing beautifully but clouded by all the readymade pop around her.

Yet despite its flaws, this is still an impressively confident debut from a band that sound far older than their years.

This is a talent to watch, The Return laying down an impressive statement of intent, a marker of Sampa The Great’s potential. This will surely grow with subsequent releases, and it is exciting to think of where she could go next.

For all its challenges and provocations, Garden Of Delete may actually be more inclusive and open than it first appears. It might be that its moments of hope and beauty (Lift) linger longer in the mind than its very varied assaults.

The Sword still know how to write killer riffs. That said, they've changed tack a little this time around mainly thanks to the polished production of Matt Bayles (previous clients include Isis and Mastodon).

Empty lyrics are all part of the game when it comes to creating pop music--and Lady GaGa looks to have hit the jackpot here with her blend of sassy attitude, metallic beats and sharp, incisive songwriting.

Swoon, then, is a mixed listening experience, with the solemnity and over-seriousness of the general tone and the occasionally grating nature of that voice being more or less mitigated by some lovely melodies and first-rate guitar riffs.