The band's way with a catchy hook and a summery, laid back vibe may yet see them overtake Maroon 5, but that's where their lofty thoughts should settle for now.

Fast Man Raider Man is simply too long, and, as such, a dilution.

While Those Dancing Days may struggle to last in the easy come, easy go world of indie pop, let alone stand out amidst the current glut of Swedish imports cluttering our shelves, In Our Space Hero Suits proves they deserve their five minutes of fame.

It's a record for parties, for escaping the grind, and for enjoying your relaxing drug of choice.

Their impression is clear, but the soul, and even the primary reason why this sort of music was great in the first place, is coldly removed. It makes for a slightly uncanny listen, like a collection of all the filler tracks from '88 twee.

Die-hard fans can rest assured that the band have certainly not gone rave but, sadly, there’s really not a great deal to rave about either.

Island Universe is a reassuringly confident and energetic album, and suggests a band with enough promise to make even stronger bodies of work in the future.

The decision to feature Marcus Mumford of Mumford & Sons on Lay Your Head On Me is baffling but not disastrous, as a soulful guitar lick dances around earnest vocals about honesty and intimacy. Trigger featuring Khalid is woefully boring, his low-key delivery rubbing up against sludgy chords and a weird mixed metaphor in the hook. Rave De Favela is by far the best track of the record, with hard-edged 4×4 beats, novel sound design, infectious syncopation and lively performances from MC Lan, Anitta and BEAM.

It's clear from Flamingo that Flowers accounts for the lion's share of talent in The Killers, and if they ever go on definite hiatus, their fans can look forward to more consistently good material in the form of Flowers' solo albums.

Tape Club is a fine time capsule for their first decade together.

Phenomenal Handclap Band have created an extraordinary record, an accumulation of countless styles and eras of music that at times works impeccably. But too often it just a little too frenzied to adore.

All in all, Sequel To The Prequel is a consistent and accomplished return from Babyshambles.

It only fails in that its broad pallete means when Mondo is good, it can be very good. When it fails to hit the mark however, it's pretty average fare.

They asked, so we'll tell. Does it offend me? No. Does it bore me? Yes.

Though Natural Rebel has its moments, it all feels a bit staid and stale: not so much rock’n’roll rebellion as conventional cliché, both musical and lyrical.

A record which stares back at you with the appeal of an ex you'd rather not have bumped into.

The production drips with gloss, but unlike Acolyte, it’s a gloss that obscures rather than glimmers.

So far, so deliriously cheesy. Unfortunately, the remainder of The Beat Is... lacks any sparkle or panache, with the band falling foul of a very current musical disease; the Auto-Tune obsession.

With a little more focus and a natural approach, he could find himself a unique voice that sits outside of the styles he is trying to embrace.

Kassidy have proved they're as serious about recording as they are performing and if their debut album is any indication, they're in it for the long haul.

Ultimately, Chaos And The Calm is a solid, if unspectacular, first effort from Bay.

It feels like a satisfyingly natural progression, but brave all the same. Because his first album was a big deal.

Euphoric Heartbreak is a more accomplished, interesting piece of work; a brutal but exhilarating listen. Yet without the hype that surrounded its predecessor, and with a distinct change of tact, it might struggle to find its natural home.

All in all, passably decent party music, but lacking in the divine touch its title might imply.

With its insipid, limp first half this is most certainly not the record to do it. The listening experience is made all the more irritating and frustrating given the sudden improvement in the final third of the record, but no part of it will ever be described as life changing or world-shattering.

Throughout his sounds have poise and power, and although the album is too long it does not often flag, for he is careful to fluctuate the colours used.

The reality is that Glitterbug just doesn’t excite or leave any lasting impression.

In the passing of time they’ve aged a bit, and though they can still intermittently move us with their thoughts, it is difficult to see anywhere they could go from here musically. It is the right time to go.