There's a rich sense of open space and movement that feels close to dub reggae at times, which leaves plenty of room for LaVette in the foreground.

The uniformity of song structure, tone and tempo, though initially captivating, soon becomes monotonous.

Even though the production is immaculate, featuring amazing work by Lex Luger, and the guest list is impressive, the album falls flat. The problem: Ross takes himself too seriously.

A Church feels a little long, and getting through it requires a certain amount of emotional energy, but it's well worth the effort.

Many moments are reminiscent of big-room progressive tunes of the early 00s, which sound dated at times. Nevertheless, there are also plenty of undeniably pretty melodies, thick tones and pleasingly warm textures, not to mention impressive flashes of innovation and creativity.

They've succeeded at making a good big-dumb-rock record, but you get the sense they didn't mean for it to be quite this dumb.

Most of the tracks could be singles, successfully marrying a pop sensibility to country twang without sacrificing the best aspects of either approach.

The super-synthetic ethos of the album starts to rub against your skin; the band's retro dance-music collage feels less like innovative referencing and more like flat pastiche, and the simplistic little-girl lyrics add nothing.

All Day is a more complicated mix than Girl Talk's previous albums, with more to notice on repeat listens. And just like everything else he's done, it's an exhausting experience.

Shapeshifting may sound very contemporary, but it's not in the least derivative.

Unfortunately, the bass lines (all played by Mars Volta’s Juan Alderete) never quite capture the rubbery wobble of the era he’s trying to reference.

Their method is simple and their personnel limited, yet they still throw in plenty of headphone-friendly psychedelia and jittery vocals.

His mumbling drawl is introverted, whether it’s whispering or shouting, but never feels forced. It works well alongside his guitar.

The five-piece Montreal/Toronto noise-pop band keep things compositionally complex throughout, and each song rolls seamlessly into the next.

Sure, the production on Soldier Of Love sounds a bit tougher and chunkier than the band’s early work, but the classic Sade vibe we love is still front and centre.

The lyrics are the album's strong suit, and for the first time ever Darnielle will be releasing them with the album, allowing for easy dissection.

Only their radical overhaul of Nine Inch Nails' Hand That Feeds shows any sign of creativity.

Too often, Jenkins's use of melody fails to create sticky songs in a pop sense, but it does offset his gruff baritone and stern messaging. ... Jenkins is at his best when taking everyday scenarios and cutting to their emotional core.

The slower grooves still swing hard while allowing Jones to show off more of her impressive vocal range, although it's difficult to say whether her deep funk crowd will be able to handle the shift from the typical shuffle beat barrage they've come to expect.

The band’s put together one of their more accessible albums, full of immediate thrills instead of drawn-out weirdness.

The really exciting news is that [Sexsmith] actually takes some vocal risks – and sounds like he's having fun doing it.

It’s a beautifully crafted album that heralds the arrival of what’s sure to be one of the most subtly affecting voices in pop.

It’s a taut, punchy album full of winning charm, and blessedly free of cynicism and ego.

Ritter draws liberally from the well of himself, others and the Bible, and it's a fun ride.

The Hungry Saw may make Leonard Cohen’s stuff sound positively giddy, but it’s a positive turn for the Tindersticks.

Moments of softness and even warmth make Ghersi’s debut album a more varied, mature and easier listen than last year’s unforgiving &&&&& mixtape.

Some may argue that there’s nothing here the Ramones or Jesus and Mary Chain didn’t do decades ago, and there are obvious similarities, to be sure. However, the decidedly female energy the Dum Dum Girls bring to the table puts them in their own category, inserting some welcome softness and subtlety into the genre.

The tracks are long, grinding and relentlessly angry about the state of the world.