He has talent, he's capable, and he's got a future - there are occasional flashes of creativity-stuffed aptitude - but this time around they're merely flashes.

By virtue of the last track sitting in such stark, depressive contrast to the rest, Spiera probably accidentally, but definitely effectively, makes you want to skip back to the start - an analogy for the underlying feelings he gives away over Beau Velasco.

It’s smoothly produced by veteran producer Tony Hoffer, and each track has a radio-friendly sheen to it and a catchy chorus. Which is all very nice, but it’s disappointing news for those of us who prefer Tunstall at her more experimental.

The best moments are the shorter, punchier songs, but too often they can’t resist becoming a bit too proggy, such as on Shaunie and The Winged Boy.

There’s a lot to enjoy in Ambiguous Desire, an undeniably a splendidly crafted and blissfully atmospheric album. You just sometimes wish that Parks had leaned a bit further into the grit and chaos of the US club scene that inspired her.

With the singles and two other best songs placed at the front end, how does the second half fare? In direct comparison, poorly.

Odeon may lack two of the qualities that were so evident and satisfying on albums like Suzuki and No Hassle, namely their smooth consistency and unbroken flow.

It's another debut album laid low by ravages of hype.

With a bit more definition, a bit more purpose and just a bit more consistency you wonder if it could have been great.

Rudimental have already shown on their tremendously successful singles that they have that special knack for making exciting and diverse pop. Sadly on Home it is a knack that we hear too little of.

If much of this is catchy, however, you can’t help but miss the Noah And The Whale who could be emotionally devastating.

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.

For an enjoyable 'kickaround' of an album this is a cheeky little blighter that will continue to tickle ears, raise a smile and brighten any listen for a while yet.

There's just enough promise here to show that there is indeed talent beyond all the hype.

The Pines ably achieves what it sets out to do, but somehow you're left pining for that little bit more.

Their calmest album to date.

Like its predecessor, the Kaisers' second album is patchy, but does have moments of brilliance.

He hasn't quite developed the dexterity to match his grand designs yet, but there is enough on show here to suggest he soon will.

It's not a bad record, but by The Zutons' own extremely high standards, it's a disappointment.

Concise and defined, the 10 tracks here distill Marina’s thoughts on modern day society and all its horrors into a short, sharp shock. ... If there’s anything the album lacks though it’s some of the knowing playfulness of her previous work.

In this day and age, though, people would be better off cherry picking the best tracks for download.

While he’s sounding as bold and varied as ever, White’s songwriting feels a little less focused, with tracks like the seven minute opener and single Genuine Hesitation and Take Your Time (And That Orange To Squeeze) tipping over into self-indulgent dirges.

The album may not carry the sort of dance-fused electro-pop magnificence they’ve made before, but moving away from the more ‘expected’ type of pop song you think of when Erasure crops up in conversation seems to have worked wonders.

It’s certainly a confident step-up from Garageband Superstar and if more of Hibberd’s musical personality is allowed to shine through next time around, she could produce an even better album.

Ultimately, although the softer, folkier moments merit attention, the album does linger in parts and really could do with a shot in the arm to lift its energy levels.

Social Distortion still hit as hard as they ever did - barring the obvious newfound musical influences. Anyone not yet convinced by Social Distortion probably won't find new evidence for greatness here, but for longtime fans, the six-year wait is more than worth it.

There is nothing particularly ground breaking or original about Solar Bears, and their music can feel a little samey at times. Despite these shortcomings, Advancement is still a thoroughly enjoyable, lushly textured record that rarely fails to absorb.

The formula is executed well, while the production and songwriting keep the Australian four-piece ahead of any imitators. ... Yes, new music is good to have and good to experience, but when the tunes become interchangeable that notion starts to feel hollow.