Fanfarlo should still be around for a while; you only hope they can make more of an impression in the future.

Taken in its entirety, it doesn't offer enough variety or dynamics to warrant repeat listens.

The overall effect of Skeletons is akin to being poked and prodded by a bratty child for over half an hour.

Sophie Ellis-Bextor has just abandoned her electropop comfort blanket for a smothering duvet of clichés and ineffectual romanticism.

Encylopedia is an album that will be either loved or hated; there is little in-between as the narrow line separating catchiness from irritation shrinks to a hair’s width.

Too many of the songs fail to deliver the mind blowing moments that the band have been capable of in the past.

If you love the bands The Ladybug Transistor love it's worth a listen, but this won't be the album to propel them forwards.

The success of such tracks generally rides on the melody, and here Bell X1 get two out of three pretty right.

At times it feels like an album with no real purpose other than to be heard and then forgotten. Few tracks jump out as being memorable. A more driven focus upon one element of their sound could have led to a far greater album, or could have at least tested the waters in terms of what they might achieve further down the line.

Flashes here and there suggest that The Neighbourhood are capable of writing good pop music. It’s just that they miss the target far too much.

Invisible Enemy // Crescent Moon is a brave attempt from its creator to change direction, but ultimately KT Tunstall’s limitations are laid bare on a record that meanders pleasantly without ever leaving a lasting impression.

Unfortunately, it's generally downhill all the way thereafter, as it becomes rapidly apparent that Young The Giant have banged out all their best songs early on and rapidly run out of ideas.

It is a valiant, but ultimately fruitless attempt to add to the already brilliant back catalogue of the Ramones.

As a study of a man starting to slowly regain his feet after a major relationship break-up during a pandemic, Extreme Witchcraft has plenty to say. As a collection of Eels songs though, it unfortunately falls some way short of the band’s best work.

World Beyond ends up worth a listen if you happen to be someone who likes ’80s synthpop and classical music in equal measure. Whether there’s much here for anyone else is moot.

It is no necessarily a bad record, but it is seriously lacking in memorable moments, which is a crying shame considering how good Oceans still sounds.

All things considered, Hamilton needs to focus less on blending parts together, and more on growing his own food from scratch.

The album’s sprawl and ambition is laudable, but also its downfall, as it often feels like a bit of a chore to wade through. As an album it’s too patchy, and as a document of a man’s life, a well-researched biography is probably a better bet.

It's sustainable, technically sound, and part of a much bigger feast that happened a couple years ago.

It’s full of perfectly fine sunny pop songs, but few tracks really stand out.

One thing this record definitely lacks is variety. With a work claiming to hold "the band's most varied songs" it's disappointing and surprising to hear so little diversity.

The skill involved in composing and producing A Paradise is not in question, but a little less cerebral meandering and bit more fun really would go a long way here.

While the band’s penchant for steadying, shimmering guitars and unexpected use of instruments certainly appears on VII, it’s not enough to overshadow this album’s lack of originality.

Those who choose to embrace and eulogise anything the great man releases will no doubt laud Fallen Angels as another triumph, but the harsh reality is this is Bob on auto-pilot.

Aside from its undertone of paranoid desperation, however, the album is a largely by-the-numbers exercise and seems almost certain to quickly fall off the public consciousness.

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

Whilst undoubtedly, and commendably, experimental, very few tracks on Ufabulum hit their mark.

The emphasis with Generation seems to be on cramming in as many styles as possible. This gets tediously close to "look I'm a DJ, watch what I can play," rendering listening the first few times a nauseating experience.