Although long-term Dashboard fans will miss the more fragile moments, the new, big, epic sound is one that suits Carrabba.

It's a shame that Hynes' songwriting chops haven't developed as quickly as his musical skills. But this shouldn't put the brakes on Hynes' progress: Coastal Grooves might be a forgettable, minor work, but Hynes' career to date proves that he shouldn't be written off easily.

One hopes that the Austin band takes lessons from both the successes and failures of Fellow Travelers: taking risks here and there often pays off, but don’t mess with a vocal formula that works.

The old master may not be as abundantly creative as he once was but there’s life in the old fart yet.

What King Of The Mountains manages to achieve isn’t particularly new but there’s a fair amount of admirable craft going on that doesn’t come across as too robotic or synthetic. But it feels too safe, and lacks cohesion and structure.

The music is fun and easygoing, whether it’s the title track’s blissful 80s-style chords, or Make It Out Alive’s sparkling synth line, or the dizzying strings of Sweet Talker (a far better Galantis collaboration than Heartbreak Anthem with Little Mix). When the pace drops the results become more mixed, as Intimacy sports a clumsy riff under melodies that don’t gel while 20 Minutes is nice but forgettable.

It's certainly not a bad album, and pleasing enough while it plays, but it has no standout moment that demands further listening.

Archives will not compensate for the lack of new Department Of Eagles material. Indeed, it appears that the project will be on a long hiatus whilst Rossen is preoccupied by Grizzly Bear. Yet it does have merit as a fascinating document of a band veering out of its comfort zone, starting to make what had previously been the music of their dreams.

You could equally say the album was allowed to peak too soon, but either way let it take nothing from the fact that this is a refreshing and extremely promising debut effort.

The Fresh & Onlys’ most cohesive record yet, House Of Spirits doesn’t break any new ground or take any unexpected detours, but rather solidifies their position as the foremost new-wave revivalists around. Read more at http://www.musicomh.com/reviews/albums/fresh-onlys-house-spirits#cdqLV5AbrbDVF9DB.99

A brave experiment then, and more than likely a fabulous live experience too, but ultimately more of a novelty for the curious than an essential purchase.

Although the musical advance Beady Eye have made in BE does not extend to the clumsy lyrics, Liam shows he is not just a balls-out bawler and the band sound sharp.

This album’s half-in-half-out approach is unsatisfying.

If you fancy a slightly off centre alternative to the mass appeal of more prominent electronic bands, despite a few wobbly bits here and there, then you won’t go far wrong with giving this latest collection a chance.

The end result is a pleasing, intimate experience by no means out of context with the rest of Gray's catalogue.

Armageddon is a sop to the disaffected fans of FFAF's pomp, and in seeking to recapture their ardour it tries too hard to pander to their needs. And from the few tracks that evidence what could have been, that's a shame.

Whether the record would have benefited from the band focusing more on fewer tracks is debatable, but Wicked Nature is in many ways a miniature triumph for an outfit written off by many as has-beens.

Supervision is at times frustrating – an avoidable misstep here, an overindulgence there. But it also contains some of La Roux’s best music to date, music that’s witty, danceable and endearing all in one.

With much to enjoy on this collection that has preceded their goodbye it would be music's loss if this were to once again genuinely signal the end of this quirky, characterful band.

Full of derision that the less talented one out of Oasis is going to be found out on his own? You won't be dissuaded.

Gulp suffers from the side-project lack of focus, but they have the capabilities to push their music to the edge on which they obviously live.

While it’s sometimes a bit too unassuming for its own good, King Of A Land does well to remind the world of just what a legendary songwriter Yusuf/Cat Stevens is.

It doesn’t quite always work, but it is a promising reinvention.

Though The Way is unlikely to attract many new fans, those who contributed to the project to make the album should be pretty happy with the results.

As it is, Hozier’s third album is a album that is simply a bit too sprawling. It’s certainly great in parts, and that voice never fails to impress, but it becomes a bit too bloated to listen to in full over time.

Gallagher has done a very competent job of producing the album by himself, but his High Flying Birds glide effortlessly at mid-altitude rather than aiming for the heights.

Into The Murky Water allows some of the band's earnest demeanour to shine through, but ultimately it lacks the spark of its predecessor and it's difficult to love.

He has talent, he's capable, and he's got a future - there are occasional flashes of creativity-stuffed aptitude - but this time around they're merely flashes.