Overexposed is rather patchy and its highs are countered by some fairly wretched lows.

The memorable melodies expressed by Chadwick, drive Eyes Wide and Accidental Anarchist passionately along, and album closer Fight Or Flight is undoubtedly a gem in the rough of an otherwise largely underwhelming effort.

six songs may only run to seventeen minutes, but for the devoted it will be a case of quality overriding quantity.

This may be her strongest set of songs yet and, even if not every one of its experiments quite comes off, at least these are indicative of an artist who's not content to cruise on auto-pilot.

It's not perfect and there are two or three tracks that don't really work, but it's hard not to be won over by the LP as a whole.

Although there are some memorable moments here, none of them come close to tracks such as Mars or The Dozens.

While the album does tail off slightly towards the end, III is for the most part a solid comeback for Shiny Toy Guns.

At best, he sounds like he’s going through the motions, at worst, he’s crumbling inside, slowly realising he’s sold his soul.

It does sound very different from their previous two albums. Unfortunately, in doing so, they’ve produced the most crushingly average album of the year so far.

These dated trance beats and chunks of grime tinged R&B aren't going to earn him any new fans, so he's flipped the default switch; if in doubt, get a bit naughty.

The result is an album that is, for the most part, merely pleasant.

At times it's hilarious, especially the song openings, which evoke poodle-rock heroes in mock affection, but the tracks then go somewhere inconceivably cool, twisting, shimmering and generally rocking in drool-worthy style.

As an exercise in not-so-subtle re-positioning the album is never less than effective and its high-points are more interesting and persuasive than most of JLS' peers.

Here, Pritchard and company aim for an even more mainstream success than Konk, and they will likely succeed in selling a boatload of albums. But they've lost something in the process.

The whole thing just feels so lightweight, as if the remaining members of CSS are struggling not to play their instruments but to get any magic out of them.

This then is an album that doesn't quite work, being as it is constantly in a state of conflict.

Christopher comes across as so eager to please that parts of the album lack vim where it’s needed, despite the luxuriant polish that’s been spread across all 10 songs.

The concept pays some dividends, with production that frequently finds a pleasant hybrid between gospel and contemporary production and subject matter that surprisingly doesn’t outstay its welcome. The big problem is Kanye’s lyrics, which have lost a lot of the charm they had in the early years without improving in technique, and at various points the tracks have a big hole where a genuinely powerful verse should be. Nonetheless, Jesus Is King is certainly an improvement on Ye, and a purposeful if novel release.

Although he may never touch the glory days of his heyday again, there are enough glimpses of his genius gathered here to satisfy.

For someone who has a lot to say and is such a unique figure in music, it's a disappointment that Light isn't as captivating as it should be.

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

All too often Rudebox plays like an undeveloped collection of half-baked ideas.

While Angels & Airwaves are pretty good, don't pick up We Don't Have To Whisper expecting a revolutionary sound designed to shatter your worldview and change your life. On the other hand, if you want something to fill the gap while U2 are recording are their new album, look no further.

This is a rather catchy, rather clever slice of electronica that you could easily find yourself falling in love with. It is also the kind of album that you could hate yourself for buying because you get off on the kind of tunes the Tweenies find annoying.

Unfortunately Night Visions is so safe and middle of the road that it leaves you with the same hollow feeling that Las Vegas can, without the dizzying high and sensual assault that got you there in the first place.

Though this isn’t a complete comeback, frustrated Kanye fans certainly have more grounds for optimism after this record than they did before it.

Aside from the album not standing out from the competition the individual tracks have trouble standing out from each other.

An energetic ride with plenty of musical thrills and spills which will sound a treat live, on the road or in the club, but one which doesn't fully convince when the vocals are added to the mix.