Their very best songs would see the light and the dark clashing within the same structure, every member's different interpretation of what the band could be fighting for dominance in an exhilarating rush. The major difference on Erase Me is that the two sides are in harmony, cleaned up and smoothed out and repackaged for a digestible listen.

The end result is a mish-mash of styles that leaves this LP somewhere in the middle of the Atlantic Ocean at the turn of the millennium.

Whatever's On Your Mind fails to leave much of a lasting impression aside from the hooks and the impressive way the band can make a straightforward pop tune sonically adventurous.

Strangeland is a good but not great album that will be enjoyed by fans of classic Keane, who at this point may reluctantly begin to put down their torches and pitchforks.

While at times angrier and more energetic than Death Cab for Cutie, many songs could be (and are) B-sides of "Plans" or "Transatlanticism."

Overinflated and squealing: it is not more than the sum of its parts. One hundred thousand good ideas, it turns out, are not enough to make an album.

Ab-Soul performs well in this complementary role and shows how versatile he really is, almost a west-coast amalgam of Brown and Kanye West, yet still a slightly weaker and more inconsistent sum than the parts.

By pop standards you could do a lot worse, but ÷ is not an album that will test the ceiling of Sheeran’s tantalizing potential.

It is undeniably a step down from her excellent 2009 release, with too little suiting such a distinctive artist.

It’s not the worst approach they could have taken, but again, there’s nothing super about adhering to the virtues of pop – and in turn, Bonny Light Horseman is a marginally decent record; nothing more.

The pacing of the album is a little more sluggish than normal. It’s clear it was a conscious effort to savour this intergalactic soundscape and add more detail, but it’s aftereffects certainly carry over excess baggage. It’s not a bad album by any means and if you like his work, this will deliver in all the ways you’d expect, but in that regard that’s half the problem.

The compositions are solid, every member brings something to the table and Eddie sings just as passionately as ever. Despite all these, there are only a handful of songs that spark actual emotion or groove at least, whereas the others fail to deliver memorable hooks.

The standout tracks are strong enough to carry the album, which means that it will probably resonate with listeners who don’t mind putting up with lengthy passages of fluff in between those moments of grandeur.

These moments of stepping outside of the indie pop comfort zone are what give Mountaintops a bit of zest, but it's also what makes the album less than a stellar affair.

The Golden Age Of Glitter then, is a subversive record. Things may not be as they appear at various points throughout, but that’s no reason not to give it a go.

Float is rescued from abject tedium by the deep, poetic lure of the subject matter and a couple of genuinely outstanding compositions in ‘Float’ and ‘(No More) Paddy’s Lament.’

Water Curses sits just shy of being worth the price of admission, even if the individual tracks are.

The main problem with In Our Heads is its musical anonymity.

If you despised Sigh No More, then you will find nothing here that even attempts to change your mind. If you found the band's debut to be charming and fun, then Babel is absolutely worth your time and money.

This album is audible therapy, complete with several cuts of Eminem apologizing, taking responsibility for being a terrible rapper, and promising to get better.

Changes is inferior to its predecessor in a lot of ways, but that doesn’t stop it from being a decent album. The most interesting part about this project is it lacks the 101 radio hits he’s so well known for.

At the end of the day, the title Write About Love turned out to be just as bland as the music it pertained to.

Actress is known to be deliberate and, one might argue, almost ponderous in how he paces his work, but AZD is especially bottom-heavy in concept. Like in an adult store, the best stuff is at the back.

While the album also has its fair share of bona fide, looks-like-we-just-broke-the-bottom-of-the-barrel moments ("Fire It Up" instantly comes to mind here), Disturbed manage to do just enough to keep metal purists from dispensing with them completely.

A competent collobarative tape that nevertheless proves that Quavo should stick to Migos and Travis to curating his own albums.

For better or for worse, Torches is a product of the here and now, and who can be mad at Foster the People for seizing it for all its worth? Get it while it lasts, boys.

Nightmare is a completely different offering; even though it still has highly questionable moments, it's obvious that a genuine effort was put in, and that's enough reason to listen.

Odd Blood delivers a series of earworms that are undeniably catchy but leave a legitimate question in their wake: why should we care? Yeasayer ultimately fails to answer this question, and Odd Blood sort of just runs its course unimpressively.