He could be a genius or he could be a lunatic; either way, one of modern filmdom's most debated and alluring figures has made an arresting album that successfully translates his visual surrealism to a new medium.

[Where We Go] is far and away the most interesting, listenable yet challenging, thing on this patchy and unfocussed album.

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

Milagres have on their hands an album that ultimately forsakes its momentum for a lack of ideas; the highs are certainly high, yet the lows eventually take over the asylum.

It[']s by no means an album for all times, and can get too repetitive for its own good, but in the right place, at the right moment not much tops it.

At the end of it all, you realise there's really nothing here.

You're left feeling like you're listening the audio equivalent of a normally classy mum dressing up in her daughter’s clothing.

A stunning debut album, one that proves the hype was more than justified.

Papa Roach have the tools to be a damn good rock band, but they'll never be one unless they change the bloody record.

There's enough humour in the words and inventiveness in the production to keep coming back to these songs, though you can only hope Wolf will sound a little less broken the next time around.

Clocking in at 41 minutes, Speak Your Mind is a slick, well-produced offering that delivers on Anne-Marie’s potential without overstaying its welcome, the best British pop debut in a while.

The trio's sixth album Mr Impossible finds Black Dice at their most accessible and most aggravating.

Although it will undoubtedly be adored by Kasabian’s fiercely loyal army of fans, to the unconverted 48:13 sounds like a band running perilously low on ideas.

Abnormally Attracted To Sin turns out to be a collection of tracks that simply doesn't work as a whole because it can't properly be listened to in one go. Pity, for somewhere in amongst it all Tori proves that she's still capable of producing a storming album.

It's a career best for T.Raumschmiere and another proud moment in the history of hard-rocking electronica.

Ultimately, Stranger Things sounds more like a band that are more comfortable with what they are doing.

There are gospel singers, there are elements of Zepplin'y mysticism, and there are swampy Cajun tinged bits, but nothing hides the fact that it's too little too late.

There is little doubt they will be soundtrack composers in the years to come, but this is their bread and butter, and makes for an extremely impressive addition to an already formidable canon.

While Leto's vocals remain as central as ever, there's only so much you can take of his constant overbearing bellowing. Love Lust Faith + Dreams was set up as a new chapter for the band. The end result just feels empty.

Ripe is a disappointingly bland affair. None of the songs have any edge to them, the tunes are predictable and the lyrics are mundane.

In Too Much Information, they’ve made easily the most interesting and eclectic album of their career--they just didn’t quite include enough of those heartwarming hooks to make it their best.

For anyone that even slightly misses the decade that saw Britpop bands pop up left, right and centre you could do a lot worse for your health than take in some Superfood.

Nothing really jumps out, and Ian Brown’s seventh album still feels weirdly unrewarding, the artist playing a contented father rather than raging at the current state of the world. That is fair enough of course, but for an artist as established and inspirational as Ian Brown has been over the decades, we surely deserve waves rather than ripples.

This album, though at times an obscure experience to the untrained ear, is at other times Royksopp-like, though never to the point of radio friendliness.

With less excessive production and better songs, this could have been an accomplished return--her voice is still there. As it is, we’re picking up some signals, but it requires some real tuning.

The record could perhaps do with more of these vocal interjections, as it's packed with mostly instrumental grooves. However what there is comes extremely well layered and with a careful structure, well thought through but also retaining the potential for improvisation and a chance to cut loose.

The Spinto Band are genuinely highly impressive musicians, they're still as creative as ever, cramming riffs and off-kilter rhythms into their songs like clothes into a brimful suitcase, but creativity isn't always synonymous with good music.

Indeed, at some worrying points, Gray sounds like he's on the point of expiring, so croaky and listless is his voice.