While each of the band's EPs were like short, sharp gut-shots, Vile Child feels diluted in comparison, and as such is a record that shows plenty of promise, but not one that will change lives.

In short, on Hymns there’s something close to an excellent EP in amongst some of the very worst things ever to bear the Bloc Party name.

‘Small And Silver’ is a welcome break around the halfway mark, when their stock in trade is replaced with unsettling bass and an off-beat production. However, it’s only a hint of a promise to explore new territories and doesn’t go far enough to vary the album.

It ultimately falls between two stools - not giving a true portrayal of a Villagers live show, and failing to mix-up tracks enough to justify this ‘re-imagining’ of older material.

The music lacks the meditative quality of similar works like those by Philip Glass. In place of this, tracks like ‘Sunshimmers’ and ‘The Amazon: The Highlands’ produce a warmness that makes the album an agreeable experience, an experience that does not ensnare the listener’s attention.

In their bid to capture the essence of their bluesy, garage rock, Cage the Elephant have effectively managed to lose the quirky personality they once had, and whilst Tell Me I'm Pretty is far from a homogeneous record, the tracks do have a tendency to bleed into one another, particularly on repeat listens.

There's a great Rick Ross album in here somewhere. If only the boss had abstained from some of his extravagant habits and used his editing sheers more cuttingly.

If Deenmamode tempers his idiosyncrasies just a little, allowing his music to breathe better, the results can be even more profound.

It’s clear that Coldplay retain their thirst, their passion for making music--it’s merely a shame that it results in such polite noises.

YACHT have consciously positioned themselves as intelligent conceptualists, not wanting to adhere to what's expected of them, and that makes for an interesting amalgam of deep themes set to brazenly outlandish pop styles.

Like acid (which, again, he never touched) this record is illuminating, often inaccessible, often scary and most people would hate it. But it's still one hell of a trip.

Ultimately, as a standalone record, Nothing feels somewhat incomplete.

Yes, the production is razor sharp, the beats are skewed and often very loud which makes them feel important, but in reality, it's all a façade; an image.

Hurts have always been pretty unabashed about their mainstream ambitions, which is fine, but as they explore them further, it becomes easier to strip away the affectations and see them for what they truly are: a cheesy pop band.

The real issue is that in a genre filled with imitators, many whom Deerhunter no doubt inspired, we need a bit more bang for our buck. When the oddities on this album ride so high they should have let complete weirdness take over.

Like the Tin Man from The Wizard of Oz, La Di Da Di too often feels like a soulless automaton tearing around on autopilot. If only it had a heart.

It's a record which feels like a grower but never manages to click.

Sadly much of the rest of Music Complete is by-the-numbers New Order, and revisionary as opposed to revolutionary.

Even an all-star cast can't save Caracal from its restrained atmosphere and overly polished production

The whole set comes off like a collection of Future songs--with some Drake verses clumsily tacked on as an afterthought.

Many fans will still be happy with the change that Beauty Behind The Madness has brought but some will surely feel the album has nothing to offer except immediate accessibility for the short attention of the mainstream.

The whole album somewhat lacks the same energy, punch and pure magic that The Black Keys have.

Like a lot of their back catalogue, Keep The Village Alive is an enjoyable and solid, if unadventurous rock record anchored, as always, by that tremendous voice.

Artistic development and risk-taking is to be applauded. With risk, though, comes the possibility of mis-steps. Sadly, here, this is what it feels like Tamaryn's done.

No, No, No is as sweet but as filling as an after dinner mint, and sadly it's probably dinner this album should accompany.

This sense of rejuvenation is somewhat stunted by the inclusion of some Fratellis standards. The results range from the exhilarating 'Baby Don't You Lie To Me!' to the tediously dull plod of 'Rosanna'.

The only reasonable offering on 'How Does It Feel' is the multi-layered and kaleidoscopic lead single, 'Painted'. Elsewhere, it's the kind of standard by-the-numbers electro-pop that's likely to soundtrack your next visit to the local department store.

Lianne La Havas has grown up, branched out, written some devastatingly honest songs, and presented a highly competent album.