It’s a fun listen the first time, and a reasonable one at the second listen, but how it does after that is anyone’s guess. Enjoy, but proceed with caution.

It may lack the standout hits of the band’s earlier material, but the record does at least have the direction and purpose that has previously been missing.

The intricate lines are admirably realised, but now and then a more solid drum beat or hook wouldn't go amiss.

The dabbling with country music overall, however, is rather hit and miss and the distinct lack of variation over several tracks won’t help sell this album in large quantities. There is enough here though to satisfy those die-hard fans.

Oh, inverted world, you’re not as much as fun or as interesting as we hoped.

While what Clean Bandit are doing is incredibly interesting, it’s probably premature to say that they’re harbingers of musical enlightenment. They may, however, be the heralds of super-duper/boogietacular parties across the summer.

Like fine steak, Born Villain is at its best raw and bloody.

When the music peaks this is an enchanting listen, but it's unlikely to win the band any new converts.

Somehow, the expected drama or crescendo never quite arrives, and we are left with an overextended auditory shrug, sadly emblematic of the rest of this strangely unsatisfying album.

As an album, it doesn’t break any new ground--it doesn’t try to. What it does do though is sweep itself up in a groundswell of beautiful, heart-tugging nostalgia so strong it’s as if 2003 lies just beyond the window again, shimmering in the haze of the morning dew.

In the final analysis, The Whip need to focus more on the dynamics of the dance floor and less on looking cool for the covers of inkies.

In the end, Keep Calm And Carry On is a forgettable, throwaway stopgap, a dog-eared blast of mediocrity in the career of a mainstay band.

Mr Oizo is not a man with a long attention span, and that shows as each track zips between styles and moods relentlessly, entertaining but sometimes maddening.

While the album is polished, Kassidy rarely take themselves out of their comfort zone. It's a decent album, but much like its predecessor, it's nothing to shout about.

Evolution Theory is an album that has a base level thrill to its highlights but it is an ephemeral thrill that is fleeting on record, and there’s the sense that these songs will work best in the live environment where Modestep will excel.

Exile is found wanting when they try too much to be the stadium band rather than allowing the drama to play out.

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.

Earth Grid does what it does and maybe that is the sole objective, an obtuse experiment in the metrics of engagement. Some will undoubtedly put this on headphones, stare into the middle distance and find a place that only Osborne can open for them. Many will ignore it.

Stupid, clichéd, utterly ridiculous for sure, but done with so much pizazz that you can't help but fall for its charms.

He infuses Relapse with occasional sparks, but fails to transcend the same tired themes--except, of course, when he becomes Marshall Mathers, the Recovering Drug Addict.

This Modern Glitch is a decent album. The problem is that The Wombats have a reputation as a better-than-decent band. This new offering isn't enormously different to what's come before.

Here's hoping that the pleasant-at-best Yeah Ghost is but a wispy, passing apparition, and not a haunting omen for similarly ineffective work in the future.

If you like Billy Corgan for his knack of writing a radio-friendly song with a heavy dose of angst, then you may not enjoy TheFutureEmbrace. Yet give the man credit for moving on and signalling a clear break with his past.

La Liberación is not a new lease of life but perhaps a glimpse of one - if only in moments, if only in one track, there still seems to be enough to keep them going. And on those good bits alone, they're worth just one more chance.

Exorcised of the dud tracks, Unbroken is a streamlined pure-pop winner, but ultimately it cannot measure up to Lovato's contemporaries.

If you’re a fan, you’ll still be a fan and if you’re not, you still won’t be.

The music's catchy, sure, and this time round it's undeniably uplifting in both tone and substance, but there's precious little about Night Train that's surprising enough to elevate it out of the realm of song-of-the-moment radio pop.

Their sonic departure won't be radical enough to put off fans, but the ultimate feel is familiar enough not to persuade any detractors. They may have taken a step forward, but they're still on the same street.