There’s nothing that lifts it from being middle of the road Einaudi. Then again, standing on a cliff listening to middle of the road Einaudi is never a bad place to be.

It wears thin over the course of an album, and an appreciation for Eighties synth-pop is a must, but for a band in their thirty-fourth year, the League are still on good form.

He should be commended for going light on the MC features--the bluntly-titled ‘Grime’ is proof enough that he can hold his own on a beat.

Ice On The Dune is patchy, and shows little progression from 2008 debut, ‘Walking On A Dream’.

Turner’s inconsistent seventh LP may not compare with the likes of ‘Love Ire & Song’ and ‘Poetry Of The Deed’ but a willingness to experiment paired with a deceptively simple message make it a decent, if unremarkable addition to his stellar back catalogue.

Patchy with flashes of killer bee sting.

Its straightforward, no bells and whistles approach is at once its greatest appeal and its most obvious shortcoming. Doris & The Daggers is deliciously satisfying beer rock--nothing more, nothing less.

At times the lyrical component can leave you cold.

Head Carrier is far from triumphant, it’s by no means a failure.

Despite the vast flavours Bibio is presenting throughout this record, so much of the quality production is slighted by tracing the same predictable frequencies and manoeuvres as so many servile songwriters leagues below have made prospering careers out of.

It's a shame, then, that these creations occasionally meander into somewhat monotonous territories.

There are enough moments of musical eclecticism here to suggest that Built On Glass is his solid starting point, rather than a definitive statement.

There are strong highlights across the set, despite this, the failure to be concise forms part of the force's biggest downfalls.

With more attention paid to plucked triads and syncopation than packing any sort of resolute punch, This Is All Yours just can’t see the wood for the trees.

The record is funky, it might sound good near some waves (the title is also a play on the .wav format for digital music files, which Harris is constantly sending to studios across the world), and the beats generally bounce happily along. It does what it says on the tin.

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.

While Bailey’s true-to-self, organic approach on Revelations should be celebrated, the record serves more as a transition than a defining peg in Bailey’s young career.

Not a great pop album, then, but certainly the product of a great pop star.

Wasted Daylight, a sugary, ambient number, offers a particularly sublime performance from Millan, as does He Dreams He's Awake, of Campbell. However, these two are the fairly obvious highlights in an otherwise misfired effort.

It's more a relic of the past than a record of the future.

They could do with a couple more uptempo nuggets like 'The Kids Were Wrong'.

Guaranteed to make you cry sugar-coated tears or vomit Care Bears depending on your tastes.

Welcome To Sideways sits comfortably amongst older material, but is more regressive than revolutionary.

Neither offensive nor inventive this album is a bit like a bag of Rainbow Drops; thrillingly pretty but ultimately full of air.

Despite his obvious talents as a pop-soul vocalist, you're left with the impression that Woon is far more interesting when he's wearing his producer hat, but we'll keep a sturdy eye on his every move regardless.

There's nothing here to write home about but it should make a nice stocking filler for Mum.

Unfortunately their laudable desire to sound like the future rather than the past seems to have backfired, leaving ‘Paradise' a crop of good ideas that wear quickly on the ears. On the plus side this overly polished sound might help convert at least a few godforsaken You Me at Six fans onto real punk (that is, if real punk will have them).

At times uneven, the project stands as testament to the unique bond between these two A-list rap talents.