I'm With You is a solid, decent enough 10th album, but it's far from vital.

There's nothing radical here, but revolution isn't all it's cracked up to be.

Despite occasional lapses into overproduced mess, the surprise here is their enthusiasm.

It's actually quite hard to decide whether Complete Me is a dreadful pile of over-processed, overloaded frippery, or if it's a work of genius. It could purely come down to whether you've got the stomach for it.

Anyone who vividly remembers the fire in the band's collective belly around the time of their scintillating debut will be disappointed with this comparatively uninspired set.

Though its combative title suggests Khaled cares little for anybody's approval, Kiss the Ring ends up more of a formulaic slugging match than any collection of genuine rap prize-fighters really should.

There’s no real ‘wow factor’ to Talé despite its star guests. But it’s a loveable enough effort.

This is an intriguing diversion for the veteran filmmaker--not quite good enough to make us want him to give up cinema for keeps, but certainly a new strand to his unique, ineffable vision.

It's spirited enough, neatly sequenced, but perhaps lacks the ingenuity to rework its influences into something that feels new.

Those expecting a worthy if belated sequel to "Movements," however, will be disappointed: even at its best, More! rarely exceeds inoffensiveness.

Killer Sounds is as assured as third albums should be, and were it a debut album it would be feted as a bright start. However, there is the sense we should be expecting more from Hard-Fi at this point, as the sporadic sparks of brilliance here demonstrate they are capable of it.

Freedom of Speech shows that one of Britain's most intriguing hopes still has some serious thinking to do.

It's just that there's a bit of an identity void at the heart of the thing, a lack of personality.

It’s a melee of styles and disparate ideas – some inspired, some falling woefully short. If its sheer reach borders on folly, it’s still enjoyable as hell.

She's an undemonstrative talent, certainly, but there's understated to the point of blending into the background – which is where much of Orangefarben sounds disappointingly at home.

If it were only possible to turn down the vocals, The No Testament would be a work of greater spiritual, and indeed secular, interest.

The mixture of emotions across Unapologetic just doesn't sit right.

The good news is that one of the most consistently entertaining pop-rock bands of the 1990s is back together. The bad news is that the album they've released to mark their comeback isn't quite a classic.

The slushy sentiments will click with a tweenager in the throes of a first crush--but anyone with life and love experience beyond passing notes around at the back of class is advised to pass on this collection of monochrome musings in favour of something with a heartbeat. Perhaps, even, something that rocks.

Second album Waking Up is a set of polished arrangements so middle of the road they make Snow Patrol sound like Animal Collective.

Robbins' first foray into music is a misstep compared to his successful acting career.

While fans of rebooted electro-boogie are probably better off seeking out Dam-Funk's excellent Toeachizown from last year, Shobaleader certainly has its endearingly eccentric moments.

Linkin Park will always be a compelling and watchable entity. But Living Things doesn't deliver music as interesting or as arresting as what immediately preceded it. Which comes as both a surprise and, more importantly, a shame.

Points for trying something new, but it's hard to disagree with Lindstrøm's own assessment of the record as something of an experimental misfire.

You could argue that A Joyful Noise is the album Madonna should be brave enough to make. But it might also be the case that it's the album that Gossip should have been brave enough not to.

As it is, it's simply the next Leona Lewis album.

Francis is a trick-free troubadour and for all The Remedy's rather monotone approach, there may not be a more personal album in 2012.

Raucous boot-stompers kick up the dust around soppy slowies, with many a chorus dripping with the sort of gooey gobbledygook that typifies a thousand rom-coms.