Kaiser Chiefs fall further into the abyss of bands that have little new to offer in a current musical climate where progression is more closely measured than ever.

Macklemore remains unsure of himself throughout, lacking the rapping skills and natural charisma needed to get things onto a surer footing. In the end, it’s a sadly fitting album title.

Let’s Go Sunshine is a solid album, though not groundbreaking. It is clear that The Kooks have tried to deviate from their established sound in a way that doesn’t completely alienate older fans, and rightly so.

A chilling example of naked ambition prioritising production style over songwriting substance.

Unashamedly broad, it can lack detail and punch; yet ‘=’ has something about it that is difficult to shrug off, while being hard to truly relate to.

It’s patchy then, but there’s enough quality here to suggest Croll is capable of better things in the future.

There's parts of On Desire that feel all too familiar, and there's parts that simply don't work. For every negative though there's a melody or lyric that makes it shine, and for that, the band are worth sticking with, at least for the time being.

The album can become at times feel too self-involved and unsettled, in regards to the fluidity of the tracks and the thorough examination of emotions, which at time has the tendency to sound a little forced.

Major Lazer’s best songs have always acted as overstimulating sugar-rushes - but the formula that was once fresh and boundary-pushing for mainstream pop now sounds outdated.

A new chapter for the band perhaps, which may lead to some great results in the future. But whittle away the highlights and you realise Grasque perhaps works better as a great EP.

It feels staid, played out, and more than a little boring; despite Ashcroft’s pleas for energy, it feels absolutely zonked out, the wire-thin production helmed by the songwriter himself.

It's all pleasant enough, but is clearly trying to be something it isn't, coming off rather shallow and lightweight as a result.

Ideas are left unexplored, while 2Chainz innate abilities – on his day, one of the best MCs around – is clouded by a willingness to pack the tracklisting with guests. If this truly is his last trap project, then perhaps a change is overdue.

It has bassline crunch, and a very distinctive space-age exterior; so why does The Vision sound like it's playing catch up?

Although Supermodel is derivative, it’s more often inventively imitative, rather than devolving into out-and-out mimicry.

Moments of the Jacknife Lee-produced album are assured--Gary Lightbody over-emotes particularly well on the maudlin "Life-ning" and "The Symphony" is rightfully pompous--but the uneasy truth is that Snow Patrol are merely background dinner party music for accountants.

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.

I Love You, Dude feels as blunt and oafish as its name, and weirdly dated in its sonic palette. Sporadically engaging, but sadly nothing more.

Unfortunately, the album barely reaches the most reasonable of expectations. The strength of their flawless magnum opus, 'Better Than Love', overshadows every other song on the LP.

RL Grime seemingly wants to keep everyone happy and while that approach will almost certainly find success in the clubs or the fields of Coachella it often hinders rather than helps his studio efforts.

While ‘PANORAMA’ at times feels repetitive, there’s certainly moments that smoulder with passion, sparkling with Kiyoko’s signature charm.

The main problem with ‘Changes’ is that it isn’t exciting or dynamic and suffers from dragging in places. Part of this is down to the lack of variation on the album.

While there’s nothing really here to ignite a flame of revolution, or indeed get fists in the air to be honest, Peace Trail sees Young doing what comes naturally, soundtracking tumultuous times with some confident and easy songwriting.

Easy to absorb musically and easy to ignore lyrically, Loud Like Love is 50 minutes of simply okay alt-rock.

The Time Is Now hangs together relatively well, and achieves what it sets out to do.

Why You So Crazy? is a mixed bag, but the scales are tipped too far towards the underwhelming. Too much is poorly executed and feels incomplete, with an air of self-indulgence.

Their commercial star has long since waned, but there is enough here to suggest that Gomez's creative light still flickers on.

Feels curiously unfocussed, and lacking in purpose.