It is not instantly recognisable as Groove Armada, but it shows how the pair have moved on from constant festival sets and gigs to managing farms in France, as Andy Cato now does. Clearly they still want to have a good time, but the stress is now on music that feels older than it does new.

We have already seen Ladyhawke’s penchant for writing the perfect pop song and hitting the highs, but now we know a lot more about the voice behind that craft. Because of that, Time Flies is her best album yet.

Invisible Forces is a deliberately minimal affair, as even formal notation is eschewed in favour of an intuitive musical journey, and if this makes the album repetitive it will surely still be put on repeat by fans of this sort of thing.

Making a value judgement on Amelia is a tricky business, it being as immediate as undiluted Ribena. However, the album knows what it wants to do and pursues this with relentless efficiency.

As a complete album [it] lacks any depth or cogency.

The amount of painstaking effort that’s evident on Anything In Return suggests that he’s in this for the duration.

There are times on Coming Out Of The Fog when Arbouretum seem to be a little too self indulgent and one paced, but each of these songs has a hook that digs deep and refuses to let go.

These aren’t bad song ideas per se, but the record as a whole becomes cloying through an overload of syrupy chords and Common stuck on motivational speaker mode.

The music on Hippies is formulaic, but in their ability to work so perfectly within a rigid aesthetic, Harlem hint at real songwriting ability.

If you’re hankering for a bit of masochistic pop, Mirrors The Sky will soothe the craving. And then destroy you.

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

Throughout the record, Steve Mackey's production shimmers both warmly and vibrantly, sounding at once like a throwback from the 1980s and futuristic.

Fans of the band will love it--but anyone looking for a return to the good old days when albums were invested with tender loving care will want to hear it too.

The promise is unquestionable but the songs and melodies aren’t memorable; this is hopefully all part of the transformation and something that will develop as they enter the next stage of their intriguing growth.

Pink Friday 2 is very much a grab-bag of a record, its 32-minute version sounding no more coherent than the 70-minute version that was released on streaming. But if the best songs sustain her legacy, Nicki Minaj will most likely see it as mission accomplished.

They've managed to inject 15 punk songs with youthful energy and just enough variety to keep things interesting, crafting a goofy, yet determined record.

For all their individual talents and collective intentions, The Little Willies just don't measure up to the greats they invoke.

As a product that needs to sell it fits the bill perfectly - there are at least five potential top ten singles here--but as an album, the whole thing feels precision tooled, vacuum-packed and strangely lifeless.

The production is highly polished and everything appears to be utterly disposable.

With The People's Key, he continues to solidify his place as one of the great songwriters of his generation. Here's hoping he doesn't hang it up anytime soon.

It feels mechanical, a band on auto-pilot, going through the motions of songwriting and recording but with their hearts elsewhere.

The album is far from a lost cause. Sometimes, Two Lucky Magpies, Over And Out and the Bibio-esque titular instrumental are all lovely. But The Boombox Ballads annoys almost as much as it entertains.

Kids In LA lays its cards on the table and, whilst at times too polished for its own good, it boasts enough songs to justify a few spins at least.

Fans of Jones's solo work may find For The Good Times a bit too country for their taste, but anyone who was won over by their debut will find a lot more to love about this new outing.

You might cringe at some of the words, and you certainly wouldn’t play them to your young kids or their elderly nanna, but everyone in-between might just turn enough of a blind eye and enjoy Pop Voodoo for what it fundamentally is: an enjoyable trip of danceable funk.

Once again the theme of emotional cleansing runs through much of the lyrics, though this particular well of inspiration has not yet run dry.

Running For The Drum has a lot to offer, and is sure to stand out as one of 2009's more rewarding oddities.

There’s certainly a lot to take in on Ben Howard’s fourth album – not all the ideas work in fairness, and there’s a few too many moments which feel like half-sketched ideas. Yet Dessner makes a decent foil for him and for those who have joined Howard on his career journey to date will be more than happy to continue travelling with him.