Nothing else on Confident is quite as much fun [as Cool For The Summer], but Lovato's intensity never wavers as the album alternates between trap-influenced midtempo tracks like the Iggy Azalea-assisted 'Kingdom Come' and bombastic power ballads that show off her mighty vocals.

It’s a shame the editing isn’t as tight all the way through, but these grooves sure are deep.

A remarkable album, one that only grows more awesome with each listen.

If these guys don't have the loftiest ambitions ever, it needn't matter when The Agent Intellect makes post-punk feel like purest rock'n'roll.

An album packed with skyscraping highlights.

Many of the guests are of the squeaky-clean variety--Ella Eyre and Sinead Harnett will be deemed edgy by almost no one – while two Lianne La Havas-sung numbers tackle bossa nova (‘Needn’t Speak’) and slinky disco (‘Breath’). Still, Rudimental know when to light the fireworks.

The London trio's second full-length is a breakneck, open-eared, positivist post-punk canter.

For now, Editors sound like a band in need of precisely what their name advertises.

Sexy, fierce and occasionally very, very silly, this is an album made to be played on jukeboxes in backwater biker bars the world over, loudly.

‘Eyeshadow’ treads more familiar ground, thrillingly injecting the Welshmen’s knack for an anthemic chorus with Thursday’s pulsing, wide-eyed intensity. Rickly fans may be uneasy with No Devotion's softer synthpop moments though.

An intense, emotional record.

These nine songs often build and build only to splutter out in a last, exhausted gasp. And then the next track cranks up and the cycle continues, giving the record a grinding, thwarted sense of frustration.

This is the unmistakeable sound of a star being born: this is an album with something to say, in a voice all of its own.

A record largely comprised of sulphurous gothic rockers such as ‘Lose The Right’ and ‘Be Still’, both of which sound like a band working from muscle memory.

Across the whole record, there's a kind of galactic atmosphere that gives everything an spacey edge.

Back To The Woods is both a consolidation for Haze (they sound like themselves again and there’s clear sonic unity--all the tracks were produced by old friend/collaborator TK Kayembe) and something of a hangover of a record.

The record peaks with its first two songs.... The rest is Condon shirking off the grandeur of his earlier arrangements with his simplest songs yet, but without showing he’s got the songwriting chops to move on.

What A Time To Be Alive often sounds more like a Drake album than the jazzier, busier records that Future usually creates. Yet the Atlanta rapper dominates the record, demonstrating his impressive adaptability.

An intoxicating listen, Honeymoon is designed for the red neon glow of a smoky cabaret bar, a Californian answer to the chanson tradition.

A record like a deep gulp of cold air on a clear, bright morning after.

Emotion is packed with frighteningly relatable songs about love, longing and heartbreak.

Country, spiritual, rock both voodoo and drivetime; it’s a masterfully messy mash-up, yet the contemporary grime and gravel caking Crosseyed Heart is quintessentially Keef.

Thunderbitch the album rolls with precisely as much uncompromising swagger as its name suggests.

HITNRUN Phase One isn’t one of Prince’s best albums. But neither is it his worst. He hasn’t lost it. He’s just resting it.

The 11-track collection of lugubrious love songs shows Hawley returning to his smooth ice-cream ad soundtracking roots.

An outstanding (dare I say ‘perfect’) debut.

The result is an album teeming with hooks and melodies butting up against countermelodies, and a crisp, vibrant pop production.

This is a smooth, sleek band with their eyes on a bigger prize and they undeniably lose something in the process.