The beats are the only thing going anywhere on Stranger, while the vocals seem as drunk and rambling as ever, devoid of memorable similes or even coherent subject matter.

Geowulf have all the potential to be able to put together a decent pop album, with Kendrick’s blissful vocals and Banjanin’s chilled-out melodies, but unfortunately on Great Big Blue, they just fall a bit short.

The eight-track album features themes on the new age norms of class, gender, race and power that shape the world today. Beyond the sweet melodies and striking instrumentals, New Age Norms 1 is a project with a message.

DZ Deathrays are pretty consistent in that way. Yes, there are fun moments to their latest record, and there certainly are songs you can imagine sounding great while crammed in a small, sweaty basement nightclub, but beyond that, there isn't really a lot else to this, especially, when as mentioned, there's a whole slew of acts like this already.

If you already enjoy the band's sound, whether in fervent adoration or in a passing fondness, Keep On Smiling won’t turn you off. It might not be a game changer, but if you already like the game, thats not a problem.

It wouldn't be a recommended entry point for Beach Slang, but the chances are you'd find one or two songs here palatable enough to seek out more. If you're a Replacements fan you'll either think this fills the Westerberg-shaped hole in your life or you'll tear your hair out and curse at just how audaciously similar some of these songs are. Still, whatever side of the fence you might sit on, it's probably worth a listen to find out.

Tense synth riffs drive [the track Animals] forward and give it an energy absent from the rest of the album. It is that energy, that immedicacy that made Fuck Buttons such an exhilarating listen, which is so sorely missed on this album.

Although not completely original or life changing, this collection of songs provides a fresh angle on the early days of Friendly Fires and Tame Impala; with such a talent for refreshing the past, who knows what will come next.

An album with a few moments of sweetness, but which ultimately feels like a pleasant collection of background music.

Say Yes is an assertive, cathartic shout of independence. An understandably grittier attitude drives even the most understated of tracks, but blows full force on Avalanche.

Despite the obvious Tame Impala similarities, sir Was manages to carve out his own brand of psychedelic pop on Digging A Tunnel, leaning more towards funk, soul and hip-hop than classic psych-rock. Plus, you’ve got to hand it to him for trying to make bagpipes happen.

Syrian Plains will get heads banging, while John is more likely to lead the dancing--and is the most joyful track on this generally bleak, occasionally repetitive album.

Despite some over-zealous Top 40 attempts, High Expectations is a well-rounded pop record.

While Power is sonically different to the rest of the band’s outings, and a solid release that keeps their ever-consistent discography ticking over, it’s perhaps not as vibrant as previous efforts.

While not every moment works as seamlessly as others and some track lengths can feel slightly daunting, the triumphs far outway the tribulations on this enthralling, emotional trilogy conclusion.

It’s a bold, considered whole; it's rich in theatrical texture and ambient psychedelia, but it’s not an easy listen. Often deliberately discordant, it won’t be to everyone’s tastes, certainly not to fans of Palmer’s poppier work.

Morrissey can alienate fans with outlandish outbursts or with decidedly average new music, but both at the same time is surely too much for even the most forgiving fan.

If anything, it’s a shame the album takes this long to really flourish. Indie super-producer John Congleton is welcome on the boards, but he arguably provides a little too much polish, compared to his recent worthy efforts for Priests.

Let’s Go Sunshine is a triumph for a band unafraid of pushing their sound, fusing together a variety of influences and flying the indie-pop flag high and proud for all to admire.

While it's an improvement from their lowest ebbs, it will equally never match their highest peaks.

As they’ve progressed through their career, that quality undoubtedly still remains, but their sound has morphed into something much grander and ambitious than a previous dose of radio rock.

With Red Pill Blues Levine and co have managed to produce an album that is uninteresting and unexciting; at best this is background music, to be listened to on very, very low volume, or even better, not at all.

Its fuzzy, dream-like patterns and navel-gazing can be hard to interpret, but there is a certain honesty and integrity that underpins the album.

Alter Ego should make meteoric impact. Instead, it lands with a dull thud. The album doesn’t feel like an artistic statement so much as lab-assembled and A&R-curated; sterile and unwilling to take risks.

While Altogether is a pleasantly enough constructed record, it suffers a similar problem to Nothing's Dancing On the Blacktop from last year – it's just not particularly enthralling for older fans.

Deaf Havana have moved with the times but it isn’t all sugar-coated and there’s still enough emotion to drive us towards their music.

Occasionally he lands on a flourish that expresses something specific, like the jarring MIDI-ish guitar tone on 24 which, in its anxious jaggedness, is an apt counterpart to the lyrics 'Please don’t let it be a heart attack'. More often though, he’s happy to settle for novelty alone. And while that’s no crime, it’s unlikely to set your world on fire either.

Songs in the Key of Animals begins sounding like the Bojack Horseman concept album nobody asked for.