Deep-pocketed obsessives who’ve managed to keep pace with Young’s reissues may be disappointed to hear that most of the raw versions of these songs have appeared before. But for more regular fans, the music on this album is wonderful. It’s supremely chilled yet deeply soulful, a dream soundtrack for early-summer evenings

Raul Malo, the Cuban-American singer, has a wonderful voice but it's unlikely that his new album Sinners & Saints will bring him a host of new converts.

It’s refreshing to hear an album that so thoroughly ignores those strictures. That said, I doubt Cellophane Memories will ever be more than cult listening.

It seems churlish to complain about songwriting and production as madly ambitious as this – filled with nuance and detail, sweeping and dizzy in its self-absorption, it builds at moments to an operatic grandeur.

It is arguably a better collection than the original Tension but lacks wow factor and a solid gold banger. It’s good enough to keep the Kylie show on the road, though. So release the tension, enjoy the ride.

To have four songs over 10 minutes on your debut is brave; when the record recalls Neil Young's sadder moments and explores the anguish of a break-up, it is foolhardy.

The album is full of great music, the sort of bluesy, R&B material master guitarist Cooder does so very well.

Fans will miss the mordant voice and songwriting of Doves frontman Jimi Goodwin (whose 2014 solo debut Odulek found him pondering how to recover your youth and giving up the booze: “What have I got to lose?”) But the brothers acquit themselves well here.

There’s nothing challenging about this record. But it offers undemanding companionship, toe-tapping tunes and a timeless reminder that all you need is love.

It's all precisely mixed and impressively textured, but lacks Blake's more raw, emotional connection.

Given Lewis’s age and retro-musical instincts, major stardom may now be beyond her grasp, but if you like your pop music grown up, she’s up there with the big boys.

The Decemberists blend rock and folk well (there's even a nod to the famous Raggle Taggle Gypsy Man in a riff on Rox In The Box) and the songwriting crafts pastoral and emotional imaginery into tight-knit, attractive songs. This album is an unexpected treat.

Garratt still has a tendency to overelaboration, compressing armchair techno, James Blake-like digital manipulations and McCartney-esque flair into lush, shapeshifting tracks replete with pushy synths and layers of harmonies, where every sonic space is stuffed with activity. The effect is quite prog rock, reminiscent of such busy 1980’s synth songwriters as Nick Kershaw and Thomas Dolby.

From the full tilt title track, the echoing twang of The Buzz, the strutting rock reggae of Lightning Man, the swoonsome torch soul of You Can’t Hurt A Fool and swaggering rush of I Didn’t Know When to Stop, it is a Pretenders album that sounds like it could have been recorded in their first flush, a perfect blend of sensuous vocals and blazing guitars.

Sonically speaking, Weller seriously kicks it.

Humanz is a giddy celebration of unity in difference, the sound of eccentrics, weirdos, outsiders and freaks partying together in defiance of convention. It is music where anything goes, as long as it’s got a groove and a heart.

The crooning, woozy indie-pop of So Hard To Tell is reassurance Friday has a full spectrum of emotional arrows in her quiver and she’s going to hit all her targets.

Welch still has the love--and the tunes--we need to see us through.

This album proves his talent is timeless.

Kiss Each Other Clean recalls Scritti Politti, or Sufjan Stevens--perhaps not what his folky fans were hoping for, but it's an impressive makeover.

Track for track, it’s the equal of anything Petty has released in a long and righteously distinguished career.

It's something of a connoisseur's collection (steering clear of some of the big hits such as Release Me) but has treasures such as Making Believe.

It's frustrating, then, when Swift reverts back to type. Too many of the songs on this bloated 16-track album revisit the gently strummed verses and characterless choruses of her previous work.

The songs on What a Terrible World, What a Beautiful World, produced by long-time collaborator Tucker Martine, are more intimate and personal than some of the early Decemberists narrative songs.

Behind its rather mundane title, This is What We Do contains multitudes of grooves, with both a positive spirit and a physical imperative that are nigh-on impossible to resist.

Goulding’s spectacularly tremulous vibrato, raw mid-range and fluttery high notes imprint unique character on everything she sings. It’s a voice that can make even her “least personal” record sound very personal indeed.

The Gift is a quixotic compilation of tracks. ... One of the things that comes across most impressively in this afro-futurist mix of hip hop and R’n’B is that it all sounds fresh and exciting but not remotely alien or intimidating.

Kehalni’s lubricious vocals and tender slow jams are not for the faint-hearted, but there is a real core of emotional truth burning through these X-rated grooves.