Everlasting is an eclectic mix.

Overall, it's a good album.

With Williams it's classy and classic country. This is a very good album.

A great deal of care has gone into the record.

It is genuinely embarrassing at times, compounded by the intrusive sense that the songs were really written for an audience of one (who, like the rest of the world, has reportedly shown no interest in listening to it).

If this record feels like a triumph of style over substance, I still like its style.

A clever range of textures (from raw cello through stuttering piano to popcorn-light synths) keep things interesting and there’s a bravery in the way she spins inspirational lyrics from her long battles with addiction and bipolar disorder.

The album was recorded in Berlin and the dark pulse of that Krautrock influence gives the songs a steely sleekness of purpose (and real cohesion), while the band layer a vigorous variety of sounds and tempos on top to keep things interesting.

There are things going on here that will, in all likelihood, percolate through to stadium pop in due course but Hyde lacks the vocal presence or structural songcraft to shape the material into something greater than its parts.

A nice comeback album.

The way their voices swoop and bend together is a delight.

This is an album full of wistful, careworn emotions and a sense of quiet profundity.

Throughout it all, Sheeran stays true to the essential artistic notions of the classic singer-songwriter genre by treating his music as a vehicle for emotional veracity, personal revelation and universal inclusion.

There’s plenty of life in the old dog yet.

Love Frequency only occasionally sets the pulse racing.

It contains Frankie Knuckles-era house music, hip-hop breaks and some interesting electronica. However, the band are not the genre-defying pioneers they think they are.

Without the hip-hop beats that peppered her first album, the songs here lack a sprinkling of brashness--a little of the Kim and Kanye touch would have helped.

You suspect that getting on the wrong side of White would be inadvisable. Thankfully, he has channelled his demons in Lazaretto to create one of the great break-up albums of recent years.

It’s a brief cloud over a lovely record that is the aural equivalent of lying down in a sunny meadow, located somewhere between Stockholm and Nashville.

The result is a quirky and poignant little time capsule.

Like Barrett and Wilson, Teleman indulge a whimsy that can tip into tweeness. But the melodic repetitions and slightly eerie echo around the guitar line give it a weird edge that works.

It’s a shame to see a talented guy rushed into making the wrong record.

This may be the most raucously uplifting divorce album ever heard.

There are big, generalised emotions: hurt, love, loss, transcendence. But none of the tiny, idiosyncratic observations that make and break relationships.

A lovely, and rewarding record.

Although rejected by the singer in his lifetime, this is pop, not high art, and it has been handled with considerable care, giving us a glimpse, however illusory, of what this extraordinary talent might actually sound like had he lived.

ere are a few moments of awkward student theatre wailing, but they're blips in an otherwise richly rewarding odyssey.

Everything is quite extraordinary; an orchestral poem of spiritual surrender that offers up a gorgeously bleak depiction of “the whole magnificent emptiness”.