There simply isn’t enough variation, with the overwhelming presence of Righton’s one dimensional vocals lacking allure after a few tracks and the invariable electronica also doing little to excite or surprise.

As opening statements go, Better Living is comprehensive and, as a hardcore punk album, it is extremely successful.

After 30 years since their first incarnation, has the flowing fountain of creative inspiration finally run dry for the Bunnymen?

This is a debut album of startling originality, that seems set to cast its spell most acutely on a hot summer's night.

The most impressive thing about Long Way Down is how, despite being an album based on a simple, almost naïve set of concepts--being in love, falling out of love, the raw emotion of being young and not understanding the world yet--it sounds accomplished well beyond Odell’s years.

Drowners is a fun little record, if you want to get all patronizing about it, but it’s difficult to get any further than that because of its staggering unoriginality.

To Kill A King here seem ultimately still to be wrestling with the problem of how to make several different ideas gel together. They are at their best when it feels as if they’re playing just to you and no one else; maybe a bit of scaling down would do them a lot of good.

She has not made Smile to impress critics, but rather as an emotional catharsis, and in some tracks this catharsis does sparkle. But it would be great if, in her next creative venture, she focused less on just her smile, as wonderful as it is, and more on the complex emotions that make up the main draw of Smile.

Although Brown is to be commended for braving topics that other songwriters would fear to tread, he has a habit of expressing his sentiments in the most laughably simplistic terms.

A lot of guest names (including Jon Hopkins, Little Simz and Ayra Starr) and songs with literally the worst lyrics you’re likely to hear this decade. Possibly most unforgivably, there are barely any memorable tunes either – which used to be Coldplay’s great strength.

The record is overweight with memorable tunes, epic and intimate at the same time.

It’s a beautifully produced album with a consistent sound which they can finally call shot gun on.

Hook-laced in all the right places, melodic, rhythmic, intelligent, addictive and slightly quirky: they don’t skimp on any of the ingredients here.

The sad thing is, Gomez has one of the most pleasant and distinctive voices of her Disney cohorts, but she's let down by an album of weak songs that try too hard to be family friendly. Back to the drawing board for this cartoon pop star.

While this isn't a bad album--and Manson diehards are likely to enjoy it quite a bit--there's the sense that it may be an unwanted one.

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.

Free Spirit is a patchy album from an artist who is perfectly capable of delivering nifty falsetto lines and smooth come-ons, but who is also far too predisposed to sloppy downtempo numbers.

This is one for hardcore fans only and casual listeners will be better off waiting for the inevitable Greatest Hits compilation.

It's a passable enough indie guitar album, but this is a genre that requires shaking up by a truly revolutionary record. This, unfortunately, isn't that record.

Sadly, Do It In The AM is formulaic, conveyor-belt pop music with no discernable feeling or soul to it.

Had Crystal Fighters not taken their foot of the pedal towards the end, Cave Rave could have been their breakthrough album. Instead, it’s just a very good one.

There is much potential here--Arthur clearly has far more to offer music than the Marcus Collins‘ of this world--yet it feels frustratingly undeveloped.

It’s not an unqualified success, but it’s a guaranteed seller over Christmas. And, as one of this country’s more entertaining pop stars, it’s nice to have him back.

The album hits more often than it misses. Longstanding fans will either love or loathe the more prominently electronic direction, but it’s clear that Embrace have succeeded in keeping up with the times while continuing to sound like the same band.

Despite its name K2.0 is neither a straightforward sequel nor a reboot; rather, a half-familiar formula performed with renewed vigour.

The record is obvious and contrived; but bass is bass, a drop is a drop, and a banger is a banger – no matter how much guilt the enjoyment brings.

The trouble is that in the two years since Love Angel Music Baby she doesn't seem to have moved on or evolved at all.

All in all, Put The Shine On is a stunning update of the classic CocoRosie sound.