Not enough to likely attain crossover appeal, but definitely hitting a sweet and soulful spot, Alice isn't Adele, but she doesn't aspire to be.

On Generation RX, Good Charlotte regain their connection with the Youth they claimed to be an Authority on by speaking to them, not at them. Funnily enough, focusing on darkness and dealing with it has provided them with a light to chase and pushed the gleam at the end of their tunnel farther into the distance.

By the end of the project, Quavo Huncho begins to feel more like a mixtape, with Quavo popping out to add a few unenergetic verses and repetitive adlibs rather than a strong solo debut. Quavo Huncho's individual features provide more of a draw than every solo track combined, proving that Quavo still needs some time to grow and develop as a solo artist.

Romance still relies on a structure that is becoming increasingly irrelevant, which ultimately overshadows many of the album's redeemable moments.

Oak Island has a deftness that makes it hard to resist, but some songs disappear under the weight of everything that's transpiring.

While El Pintor is no Turn on the Bright Lights or Antics, the record finds Interpol climbing out of their mediocre rut, slowly but surely.

The End of That has more outstanding moments than La La Land, but whether those highlights are enough to neutralize Plants and Animals' weakness for occasionally derivative kitsch depends on how much their fans are willing to overlook.

There's a handful of above-average tunes here, and an earnestness that suggests Harry Styles will have a fruitful solo career.

The results sound predictably off-the-cuff, and several tracks like "Jaw Dropper" and "I've Got Money On My Mind" sound like little more than microphone level checks. But when Williams decides to say something meaningful, as on "Dirt," "A Good Day To Feel Bad" and the title track, his sage-like delivery is as devastating as ever.

All A Man Should Do is the band's first album in three years and could do with more of the tenacity that has made them crowd favourites, and less of the self-pity.

The star power of the record's guests overshadows the album's best moments.

Much of the record plays like a series of short acoustic interludes: pretty, at times insightful, but evanescent more often than not.

We can say that the real Slim Shady does show up and prove himself on a handful of Revival's songs, but many of the more 'noteworthy' moments are buried under a mountain of contradictions and cringe-worthy attempts at shock value.

While the artistry is evident in his picks, Moodymann's execution here could've use a more deft hand.

While Ghost on Ghost is outstanding in places, it's too uneven to hold up to Beam's best work.

United by Madlib's crackly, jazzy samples, messy scratched hooks and bizarre sense of humour, Yessir Whatever is a gleeful trip down the rabbit hole of psychedelic rap.

Dealing with Demons I has its moments, but the music is ultimately plagued by the inescapable realization that DevilDriver are better as a band than as Dez Fafara and company.

All the Ways You Let me Down is a charming record with plenty to like, just not enough to love.

Unmistakeably, each track encapsulates the old and new in Wire's musical history.

Two years of touring has allowed DZ Deathrays to realize their capabilities as songwriters and with Black Rat, it's clear they've got their sights set on bigger and stranger things.

This is well worth having for fans that have worn out Mare or Terra, despite the fact that the immersive, soothing qualities that balanced the angularity on his previous releases have been ditched in favour of often shrill, jarring timbres.

On the very next track, "Weapons," the production becomes quieter and dreamier, losing the noisiness and dirtiness that made Dälek so appealing in the first place. This continues throughout most of the album, which exchanges the sharpness of Absence for the gentle breeze of a drone record. If the group increased the focus on MC Dalek's rapping as a trade-off that would be fair, yet for most of the record his vocals are given an oddly low priority in the mix.

Next Thing is more likeable than moving, neither as intimate as her strongest bedroom recordings nor as revelatory as Zentropy.

The confident strut and orchestral accents of "Poisonous Shadows" are somewhat cheapened by ill-advised whispered backing vocals, and the songwriting bottoms out in a handful of places. Still, it's miles ahead of their rather forgettable last album, and there's still enough here for fans to celebrate Megadeth getting back on track and starting a new chapter in the band's storied career.

There's some really great songwriting on the album and a handful of tracks worth adding to your daily rotation, but it viciously grabs your attention without being able to hold onto it for very long.

We All Want the Same Things won't quench the casual fan's thirst for new drunken bar rock anthems, but for those willing to listen a bit more closely (and quietly), Finn's solo work still provides some stories worth hearing.

A touch of '80s-style production, including occasional saxophone-as-emotional-beat, at times threatens to nudge things into a satirical mash-up of Dire Straits/Bruce Hornsby hits, but they ride the right side of that precipice.

He sets ideas down, leaves them to move about, interact and then finally imposes his considerable intuition for the dance floor to form a convincing sonic drama.