The world of CEO remains an intriguing, if frustrating, place.

Admittedly, the band's past catalogue sets the bar high, but Forth is an achievement, especially when considered in the context of so many failed attempts by others to return after a period of inactivity.

With much to commend them and their sound, Chapel Club may not have the newest or freshest set of ideas on the block, but the inner confidence coursing through their veins suggests they are open to invention and greater emotion on future records.

A signature sound is all well and good, but in the future the duo would benefit from indulging their inventive side more.

A.M. may pick up some takers for fans of both protagonists' main bands but there is little here that will tempt the casual listener.

If you're a fan of her previous work, or even just like some good old-fashioned, earnestly well-crafted songs, then this is an honourable addition to the genre.

It’s the sound and pen of an artist who’s grown up in the public eye rewriting--or reaffirming--her identity. But that honesty sometimes comes at a cost. It’s heavy stuff, that at times feels more like an emotional release than an album she wants people to enjoy. Only with the last few tracks does she hark back to the upbeat, summery pop she’s perhaps best known--and loved--for.

It stops short of SMD's effort by quite a way, but it's a fine and much welcome showing for a pair of self-professed amateurs.

The vibe is almost complete but not quite, and it's puzzling.

For Idlewild fans, especially of the older school, there is more than enough here to warrant a pilgrimage to your local record shop.

While a few too many tracks fall into formula, now and again a track appears which stops you in your tracks, such as Lovato’s cover of Tears For Fears‘ Mad World (using the Gary Jules/Michael Andrews template, which sounds even more effective and eerie in this context). If anything, the album ends up becoming tripped up by its own ambition.

The lasting impression remains one of an unruly middle child, difficult to love, but unmistakably bearing choice hallmarks of its older siblings.

Like many victims of the cut-throat mainstream pop game it wants to join, Heartthrob falls down more often than not because the songs capture the immaturity of its target audience a little too well.

Not all of it works, but enough of that which is tried comes off to make it an interesting addition to a substantial career.

You'd have to say that III is a good Crystal Castles album. But given that II was a great Crystal Castles album, the trend isn't going the way that you'd hope.

Djourou sees him continue this trend of musical mergings, although this time it is the inclusion of vocalists that provide the main points of difference.

The New Abnormal lacks the electronic edge of Angles, it has little of slapdash power pop of their debut, and it certainly doesn’t take as many risks as their third (much underrated) record First Impressions Of Earth. There are shades of the old power on Brooklyn Bridge To Chorus, the best song on the record – but don’t ask yourself how it compares to, say, Car Seat Headrest.

It’s not a perfect album – you get the impression that Packs as a band are still figuring out their sound, and they’re at that stage where plenty of ideas are going to be thrown around.

Epworth packs some interesting sonic tricks into this record, particularly the chaotic crescendo of interlude The Eternal Now, but overall Voyager doesn’t have the memorability or consistency to justify stepping into the limelight when semi-anonymity has served him so well.

At its most nondescript, it’s the sound of a band falling between two musical stools. At its best, I’m Leaving is the sound of a band smartly prolonging its sell-by date.

This album is an acquired taste that may struggle to win a larger audience. If you’re a Grumbling Fur fan, though, you might just like this effort more than any of his other solo collections.

The moments that do shine are thoroughly warm; warm in a natural, pretention-dropping way, which seems to be where they're aiming. If The Donkeys can recreate that feeling a few more times they might be wonderful. For now they're merely salvageable.

Not everything they attempt comes off--The End Is Beautiful is a harmless and cloying ballad and Through comes across as Jimmy Eat World by numbers--but for the most part Integrity Blues is an intriguing and varied entry into the band’s back catalogue.

It’s a slightly uneven collection with some weaker tracks, but nevertheless its creators remain artists whose ability to construct slinky, agile grooves with a dark underbelly is still well worth seeking out.

Obviously nobody's expecting them to record anything revolutionary at this stage of their career, but it's fair to say that this album will probably only get Cure enthusiasts excited.

It never quite matches the standard of its predecessor and ultimately it is difficult to avoid the conclusion that their sound is just a little too different and unconventional to see them rise above the status of a minor cult band.

There are some infectious grooves here and there but they don’t crackle and snap the way they once did.

For the loyal fans, this is what they come back for. For the more casual Sleigh Bells listener, this may prove one full-length album too many.