Buzz’s riffing and attack give the songs enough personality to sound individual and prevent the album becoming an analogous mess.

On the whole, it’s business as usual; a collection of brilliantly composed melodies that just lack the gravitas to lift them higher.

It's certainly not a bad album, but for those of us who have followed Truille's career from the start, and have been waiting for this album for so long, it's a disappointing one.

On paper these might sound like mad genius, but Daft Punk somehow misplace the wit and the light touch that’s pretty much their trademark. Instead, these long epics become somewhat tedious and there is a strong whiff of egoism and self-indulgence.

The summery feel and gloriously messy pop sensibility are at times great fun, but with something that is so derivative, it is hard to get too carried away without getting an urge to switch this album off and dig out the originals.

As ever with Marshall’s covers project, it’s a mixed bag, but there’s more than enough here to keep Cat Power fans satisfied until her next album of original material comes along.

The idea that synthetic beats only serve to sterilise is ridiculous and passé – but while they show potential for something really interesting here, they do have the effect of cooling and sterilising an otherwise warm and welcoming record.

While this makes for pleasant enough listening, we know that Damon Gough can do a lot better than pleasant.

The problem here is that all these competing styles result in a bit of a lack in a distinctive voice for the band.

Lissie’s third album is perhaps a patchy affair, but when it hits its high points it works beautifully. Next time round, a bit less of the FM radio sheen could see her step forward with a truly great record.

Last Place is anachronistically introverted, and its tech references don’t quite make sense in the context of 2017. If it’s understood as a more human album then it works, but it is held back a little by the vestiges of the earlier, broken down and burnt out, Grandaddy.

This album shows that Times New Viking seem more likely to be comfortable in front of a crowd rather than a mixing desk; it is worth an enquiry but with a little more application it could have been much better.

There's an exciting and engaging mini-album here but, across the album as a whole, PVT seem to be straining for a gravitas that their music does not entirely justify.

Instead of recycling the catchy tunes of his '80s heydays, Lewis has gone back to his roots, delving straight into the Stax Records catalogue. Welcome to Soulsville.

Mostly this is just a bit Bastille by numbers. If you’re looking for a photocopy of their previous albums, faded and off-colour, Doom Days will satisfy.

Even with an unfocused album like The Colourful Life as a debut, Cajun Dance Party are doing much, much better than some of their young contemporaries (Miley Cyrus and The Jonas Brothers Band, for staters) in terms of crafting genuine, soulful art.

Unfortunately there are too many moments where the pace flags, however, and Lavelle, while not exactly running out of ideas, falls back on the familiar ones.

If you’re new to Pixies, try this one first, then let the magic of their previous records blow your mind. If you’re already in love with their best work, a dalliance with Indie Cindy can’t hurt.

As it stands, Dub Egg is merely promising.

There is nothing groundbreaking among these 12 new tracks and it never reaches the heights of American Idiot--which remains the trio’s high-water mark--but there is much to be admired in the simplicity of Green Day’s return.

Glow And Behold has its ups and downs and isn’t quite the coherent, self assured package that its predecessor was; instead it’s the sound of a band reconfiguring, trying to work out which way to go and what to do next.

Tomboy once again sees Lennox creating a distinctive, hypnotic sound-world - but it sometimes feels too much like a world from which there is a strong desire to escape.

Ultimately, it’s disappointing that after Pop Tune, Shonen Knife seem to be on autopilot, creating songs that could have appeared on any one of their previous records.

As its title rightly suggests, this is a feel good slice of fun best served with a cocktail in hand.

The Orb have long made a virtue out of following their own path, and there are still times in No Sounds Are Out Of Bounds where this pays dividends, but there are also sections where they merely retread old ground with diminishing returns, making this an only half-satisfying LP.

Fans of him and the band will love the intimacy and relish the chance to hear him without all the trimmings, but for everyone else, it would be wise to take him with the excess before going without.

If the album spent more time doing what it’s good at we would have a classic on the level that Stormzy seems to be aiming for.

Feel The Sound provides, when they’re on form, a reminder of how reliable they can be at creating crowd-pleasing indie pop.