The bits which 'aren't bad' are the bits which don't involve Ms Hilton.

Those that have heard lead single Yummy will essentially be able to form their view on Changes without listening to it: if they find it icky and monotonous then that will be how they perceive the whole album, whereas those that think it’s catchy and well-produced are well and truly in luck.

Coup De Grace has plenty to offer, but it’s not a big step forward from Kane’s previous solo work. If you liked that you’ll probably like this; if you didn’t, this probably won’t change your mind.

Overall, this one's largely forgettable, and plays primarily as a jokey--if not well produced--one-off continuation of The Red Album.

Hi-Tek's construction of techno beats and rave stabs on the quirky I Fink U Freeky and heavy brostep on opener Never Le Nkemise just add to the nauseating concoction of trash that comprises Ten$ion.

Electra Heart showcases glimpses of a clever, ballsy pop star.

There are too many unlistenable experiments left in, too much bland monotony. What little goodness remains simply isn't worth the effort.

There seems to be a number of ideas thrown together into the mix and this does result in the collection sounding a little confused towards its conclusion but there are many highlights before this point that suggests The Ramona Flowers are likely to be around for a long time.

Loud Like Love has bright spots, but the laborious moments threaten to undo their good work.

The combination of Lewis and Rodriguez-Lopez seems promising, albeit one that could use a few tweaks and a tad less self-indulgence on the conceptual front.

Zig-zagging cross-country has afforded the band a subtle grasp: while West Coast sunshine glows from their every chord, they are not bound to Pacific pop principles, and their dexterous handling renders Modern Rituals a beguiling proposition and Chief a band to keep a very close eye on.

With half of rEVOLVEr emulating his older tracks and the other half making strained attempts to branch out into rap and dance, it appears that the rappa ternt sanga simply hasn't found anywhere else to turn.

When it does flare up at its brightest though, [despite sounding a little burnt out at times] Weapons is exhilarating, a real call to arms from a band that deserves every bit of their continued prevalence.

While undoubtedly a bit too long, The Time Is Now reaffirms Craig David’s standing as a fine and flexible pop songwriter with all sorts of hooks up his sleeve.

One Good Thing is a fine album, and individually the tracks are pleasingly reflective, but the instant familiarity and maudlin cosiness is more soporific than it is arresting.

There's too much that should have never seen the light of day, that is little more than a band riffing on ideas in the studio without ever taking them anywhere near consummation. But Down In Albion just about remains afloat because there are moments on it when Babyshambles make us care.

Even with an unfocused album like The Colourful Life as a debut, Cajun Dance Party are doing much, much better than some of their young contemporaries (Miley Cyrus and The Jonas Brothers Band, for staters) in terms of crafting genuine, soulful art.

The songs often seem underdeveloped, two brief verses buried between more noteworthy hooks.

The landscape has changed a lot since Gomez first broke down the door, announcing their arrival. This shouldn't take away from the fact that Whatever's On Your Mind is decent enough, as albums go, but you feel it's been preceded by too many slight returns to make new ground this time around.

There’s nothing outright bad on Bouquet, but it’s more that it’s all so insipid and safe. Love and marriage are to be celebrated of course, but on this evidence they don’t make for the world’s most exciting music.

There's nothing complicated on this album, but then when did things ever need to be complicated?

The confidence of a band that took over a year to record the album is notable, and theirs is an assured voice.

All in, it suffers from a lack of focus and direction.

It delivers what you'd expect, but ambition is unfulfilled and the constant pursuit of seemingly random stylistic tangents reveals a lack of focus.

It's far from perfect, but Dear Reader's Idealistic Animals is undoubtedly a bold second album, with the almost cathartic outpouring from MacNeil giving it an unnerving and eerie beauty.

Ultimately, it is a decent return from a band who continue to show promise.

The top hat-wearing guitar hero has gingerly handpicked a diverse palette of vocalists to accompany each of the 16 tracks and contribute to the lyrics, while he takes care of the riffs....Yet the iconoclastic guitarist is careful to never upstage his guests.

Aguilera has a fantastic voice, which, when used properly, can carry a song that would have otherwise been fairly ordinary (Prima Donna being just one example) and the production on most of the songs is exemplary. It's just unfortunate that either Aguilera or her label didn't have the balls to make a very brave and exciting pop record.