There's potential here but it's sadly unrealized.

This kid may not have the voice of a generation, but there's certainly a demographic he could mean the world to. Once he figures out that it's what he has to say that should guide his singles, rather than what he imagines we want to hear, there may well be a great artist in Yelawolf.

Thematic speculation aside Green has managed, more simply to write a compelling collection of guitar pop songs.

If they stick to the melodic folk at the core of their best songs, that fateful open-mic night could be the beginning of something really great.

What this results in is an album that is just as frequently successful as it is frustrating.

Sure, they may borderline on gimmick at times, but Born To Die has its own sound, and that is more than we can say about a lot of music that is presently being released.

Mumps takes a little while to sink in in a different way to previous albums.

Though Mr. Impossible is their most accessible work to date, it's still unmistakably Black Dice.

Rave Age is an awkward half-step in a couple directions for Vitalic. It's texturally half-baked and predictable.

Though freer than the critically acclaimed Ungodly Hour, it is also less focused. Her performance rises to greater heights, but her music doesn’t always rise with her. Still, it is a work laden with potential.

Blessed with an old-fashioned FM radio charm, Here is a worthy follow-up.

Barnes has definitely taken a step in right direction.

Go With Me is like a big box of popcorn; it's tasty and it can be improved by the circumstances under which you're enjoying it, but by the end you're barely even tasting it anymore, and it certainly won't quell your appetite for a proper meal.

The record sounds tired, dreamy, and wasted in the daylight at five in the afternoon– it tries to be breezy, but instead still feels like 99 degrees of heat.

The electronic approach doesn’t work for every song, and a little more humanity and ambience would have been charming, but the appeal of the whole grows as nuances reveal themselves with repeated listens.

With this mixed bag he's likely cemented his reputation as a MC that was blessed with a sack of classic beats for his debut, now just a rapper like the rest of 'em.

Apart from the aptly titled "Film Credits," which, worthily, plays much like a ode to Max Richter, the music on the remainder of the album is left to unsatisfying and grey piano suites that don't sound destined for a more open setting nor benefit from the intimate setting of Arnalds' own living room.

Considering this is her first album since 2014, it’s unfortunate that it can feel a little one-note. A Romeo and Juliet-esque yearning wasn’t necessarily expected or desired, and it doesn’t always serve her best across this effort.

It just runs over half an hour, but time slips away when you’re inside it, wandering about.

Consistently being an upbeat adult isn't exactly an easy thing to do and at least here the band show that they can mature without having to completely forget who they once were.

Ripe for radio play it may never see, Spine Hits is a neutral but enjoyable record for the impending days of sun and so-what.

The vast majority of Dark Lane could play in a suburban Baskin Robbins without offending a single soccer mom. Honestly, they’d be unlikely to even notice it was playing. The few songs that would have moms asking to speak to the manager – which are by and large the project’s better offerings – feel more cribbed from younger artists’ playbooks than ever for the Toronto king’s rapidly aging brand.

All Of Us, Together isn't an attempt to disown his early work and roots. Jamison just made the record he felt like making, and that's why it so easily matches his best material.

There are good ideas scattered about on the record, but when you have to pass through several minutes of cacophonous effects and layers of sound, it can get a little exhausting.

The version the band have made is still a solid, if not rather good, Kaiser Chiefs album. [Review of UK release The Future Is Medieval]

Future This is stuck in some kind of awful, awful limbo between Robert Smith-less Cure and hyperbolic electro dance music.

As said, the songs benefit from being taken out of context and as much as that leads to just picking and choosing the moments worth going back for, the process of listening to the EP as a whole can almost be disheartening as much as it is unrewarding.

Unless you really enjoy music in commercials, you should avoid this disc.