Musically, it's all mid-tempo indie-by-numbers, shimmery enough to accompany an scene of upbeat emotion in Dawson's Creek; yet sufficiently credible, as indie so often is, to provide the soundtrack to a montage of trailers in an advert for a new Film 4 season.

Yet it's too comfortable, old ideas diluted to homeopathic proportions, results half-hearted and strangely spiritless, songs feeling overly long.

Hayes has hedged his bets, and it shows. Somewhere amongst these 25 tracks is probably a halfway decent album. It's just swamped.

The Front Bottoms here have underperformed with what is a tiresome collection of repetitive songs that don’t require much effort to listen to.

The record does admittedly sound excellent. Urgent and rippling with intensity it has a power that is let down by the lack of simply great songs. Far too many tracks follow an increasingly tired and weary rock formula.

At its best, this album is nothing more than a passable appropriation of pop reggae in 2013.

It's admirable that they have made such a shameless ode to that which they deem most important to their musical output, or at least what they thought might sell, but the way in which it seems so forced and uncomfortable is the opposite of what anyone would have expected.

Plenty of time is wasted on auto tune, to the detriment of almost all the album's vocals.

With Everybody Wants To Be On TV, they've given those masses what they want. But there's nothing for the discerning music fan.

The ingredients might be mixed correctly, but the cake hasn’t quite risen.

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

If only they worked a little harder at it, they could be so much more than indie fodder for those who find Kasabian's recent work a little too experimental.

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.

Too often on For Cryin’ Out Loud, he plays it far too safe and sounds up sounding like any other pop singer – and, as there’s a lot of competition out there, a bit more daring may be required should Finneas come out of the production/songwriting shadows next time.

The album essentially involves wallowing in 45 minutes of one man's competently performed but largely uninteresting catharsis, and there are unlikely to be too many takers either now or in the future unless LeBlanc lowers his lofty ambitions and frankly, chills out a bit.

The band's experimental side (the side that made them good) has suffered, as if "Wires" was the new blueprint on how to write successful songs.

With The Age Of Adz, Stevens may simply be trying too hard.

The overall effect is one of cloying, claustrophobic one-paced idolatry that needs a bit of fresh air and a good night out.

Sometimes moody, sometimes optimistic, this doesn’t feel sure of what it wants to be and instead feels a little like an Air outtakes album.

Too much of Memphis sounds like a pale copy of a much more impressive band, and Magic Kids really need to find their own, less cloying, voice if they're going to produce something worthwhile.

Though the band sound in reasonably good form and the album shows how much Burgess has developed as a singer over the years, overall the songs themselves are just not strong enough. The Charlatans don't touch us this time.

Wired Together is a patchwork of half-finished schemes - loud enough to give you a headache, bland enough to stop you thinking - that pales next to its genre contemporaries and seems to aspire to little more than making a trendy noise.

It is in reality a bit boring, a bit generic, and a bit aggravating.

At its best Intimacy is taut and claustrophobic or movingly sentimental, but for the main part it is repetitious and bafflingly poorly realised, especially given that they could have had an extra six months to work on it.

The album just sounds like the same guitar riffs recycled, with the distortion merging them all into one.

While the album is far from musically innovative, to cite it as an entirely unrewarding and joyless listen would be hyper-critical and plain wrong.

Ultimately it's hard to see this matching the levels of their early success.

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