Here, Pritchard and company aim for an even more mainstream success than Konk, and they will likely succeed in selling a boatload of albums. But they've lost something in the process.

Like most tribute albums, Monsieur Gainsbourg Revisited is a rather hit and miss affair, but it may just persuade people to rediscover a man who was somewhat misunderstood throughout his life.

It’s by no means a bad album, but at this stage Chairlift are strictly second division.

Escape From Evil feels like a case of one step forward, two steps back.

While this probably won't go down as Adem's greatest work (he's too talented a songwriter in his own right for that to happen), it makes for a nice curio.

Kweller's talent as a pop-rock songwriter is plainly evident, but despite the consistent cheeriness that's offered across Go Fly A Kite, it never manages to shake off the feeling of being merely an appetiser for a main course that never materialises.

The album experiments and draws on a number of electronic genres to bring together something that is at times mesmerising, even if it doesn’t always hold perfectly.

Yes, it’s Elton John by numbers, but it’s his talent as a songwriter that has solidified his stature in popular music and that wide appeal will only be further cemented by Wonderful Crazy Night.

So while a cautious welcome is given to this near-flawless interpretation of soul music, it is done with the observation that another record of such polish will be ultimately empty, and more than a little disappointing.

Overall, though, The Stars Are Indifferent is a quick listen, filled with nice hooks and effortless melody.

If it weren't for the big three singles... and the habitually contagious Golden Skans standing well above the rest of the album, there would be nothing new or interesting about Myths.

Tracks such as the title song and She Lays Down are redundant, bringing down what is otherwise a brave and eclectic comeback from The 1975, one that is sure to divide opinion once again.

It means that while O’Donnell’s work is hopeful and evocative, and will undoubtedly calm the troubled mind – a very big plus in the current climate – it may also leave its audience wanting more by its end.

It Won’t Always Be Like This has its moments that suggest something promising is within their reach.

A little more focus and coherency would've made it a great record rather than a good one, but as an intriguing curiosity it is another excellent addition to Albarn's ever-growing list of projects.

He can doubtless get a party started every bit as effectively as either of those two [Paul van Dyk & Diplo] but, on this record at least, in dance terms he finds himself rather falling between two stools as he enlarges the walls of his big tent.

The duo neither pretends to revisit its successful past nor claims a faux renaissance, instead opting for an honest, if solid, collection of songs.

MONSTA X, formed through a reality TV programme, display versatility, emotion and style on their second English-language album. If their third is a tad more ambitious they’ll really be onto a winner.

It’ll never go down as a classic of the Crosby canon, yet it is quite unlike anything else he’s ever done. Perhaps it’s best summed up in four simple words--one for the purists.

It is a subtle work that may not blow you away but provides lovely succour if you care to wallow in a soulfully translucent daze.

Despite its serious flaws, it is nice to see Eno making this kind of music again since his relative absence in the noughties, and for Hyde it is a hopeful stepping-stone to a productive, engaging solo career.

Die-hard fans can rest assured that the band have certainly not gone rave but, sadly, there’s really not a great deal to rave about either.

Some may find Tuttle’s hushed vocals a bit too insubstantial to last over the course of a whole album, and others may be turned off by all the psych trimmings. Yet fans of MMOSS will find much to satiate any need for a new fix and there’s enough evidence on this debut to suggest that Tuttle could well start to emulate those he holds in thrall, given time.

We have an album that opts to cater for the variety of fans that flock to support Rihanna in her time of trouble. It's a diverse work. But this so happens to be its biggest setback.

Nathan Fake is technically skilled, and on tracks like Hawk his creative verve really shines, but some kinks could be ironed out on this rose-tinted trek.

Playtime Is Over is miles forward from the Wiley of 'Wot U Call It' and 'Who Ate All the Pies' but it sits uneasily behind Sway's One For the Journey and Kano's The Mixtape projects

As enjoyable as it all is though, it’s hard to escape the lingering feeling that Lidell is best when balancing his desire to mine the rich seam of electronic music’s past with a more innovative perspective.

From this you'll gather that Ferndorf charms and frustrates in equal measure.