Overall, it's an easily enjoyable album with its heart in the right place.

Love At The Bottom Of The Sea certainly has its moments, but Merritt albums now feel like inessential appendices to a great catalogue, rather than fundamental further developments.

Green Day have become the very thing they once despised: buck-chasin’ mild boys of mayonnaise corporate rock.

Otherness is probably a better album than Bainbridge’s debut as Kindness but it succeeds in different ways and is certainly more of a slow burner.

The band crafts incredibly tight arrangements of complex, space-age country rock songs that require patience, vision, and time to create. Often, this approach is impressive. And, frankly, it is not always successful.

This is emotional, mature art you listen to on some lonesome night--or with a loved one--intently, focused, and open. You will not be disappointed.

The music of London Grammar continues to bewitch, soothe and inspire in equal measure, and when Truth Is A Beautiful Thing is at its best, it fully lives up to the title.

When it catches fire, as on Unholy, it sounds terrific but those moments are too few.

While their venture into psychedelia was a failed experiment, everything about Free Your Mind, from its title to its monotonous songs, is undeniably lazy.

The second half of the album slows the pace somewhat and perhaps suffers after the thundering EDM and lyrical onslaught of the first few songs. ... Yet, for the most part, Innocence Reaches is a triumph of adversity and experimentation.

Yet for the faithful, and even anyone who's heard the name but never the music, this is the same old wonderful stuff from one of our finest songwriters.

With little in the way of instrumentation and production tricks there's a rich atmosphere of intimacy running through the album and it's difficult not to take a shine to this no-nonsense approach.

While Deaf Havana have worked hard to get where they are, there’s no getting away from the fact that Old Souls is a substantial step in the wrong direction.

Its experimentation is narrow, its mode virtually constant, yet given time there are shades, hues and tones to discover.

Monkeytown is definitely an intriguing and thoughtful project, and improves with each listen.

Fridmann's production has given the band a whole new environment in which to play, and they've had their fun whilst making great, powerful music in the process.

The album’s probably better than expected, so it’s somewhat of a disappointment that the band haven’t been encouraged to recreate their main strength, the brilliant electricity generated by pulsating live shows as their music builds into euphoric peaks; too often, the production strips away the potential majesty.

G I R L may not be breaking many new boundaries, but it’s guaranteed to keep Williams in ludicrously large hats for some time to come.

The band may not have moved on musically but with the results this strong it feels much more than just a lazy trip down memory lane.

The album doesn't reach the heights of the seminal Black Album but is an exciting opener to a hectic schedule for Def Jam.

A rousing and eye-opening full-length debut.

Their third outing has ironed out the kooks and cracks that made them so endearing.

Aitch clearly approached this record wanting to prove his staying power, and while he delivers some quality verses (and roughly an EP worth of great music) the fog of compromise hangs that bit too heavily.

Most of these ballads are in the middle of the album, which drags it down somewhat, so it’s a blessed relief when Pharrell returns to produce the excellent Runaway.

In Search Of Elusive Little Comets is a lean, provocative and utterly enjoyable statement of intent, and belated confirmation that Little Comets, having proven their ability to defy pigeonholing by deftly handling a multitude of diverse musical elements and influences, are a genuine proposition to behold.

As debuts go, this is fairly solid stuff, but it’s hard not to feel that Real Life should be so much more than the sum of its parts.

It’s a concept that really shouldn’t work, but somehow does. Cave’s songs, usually so full of menace, mystique and melancholy, are given new light under Smith’s light, airy voice, and the fact that she was unfamiliar with the source material means that no tracks are treated with any over-reverence.

The songs where Burna Boy focuses on nimble flows and minimal production, like Dem Dey and Kabiyesi, are far superior. He’s a versatile, engaging performer, and No Signs Of Weakness is at its best with no distractions.