As a whole it's a fine addition to the Foo Fighters catalogue – but that’s not the point of this album. .... This is a reminder that the Foo fighters are a band bigger than any individual member - including Grohl. They're a rock band that, even when the going gets tough, know that there's a job to do and there's no better way to deal with life than throwing together some ringing chords and belting the dark clouds away.

Doing what it says on the tin, My Soft Machine is powerfully subtle, and reasserts Parks’ ability to capture and alleviate negative emotions, while simultaneously furthering her exploration of the sound that put her on the map.

AI could never replicate the unique balance between deranged imagination and supreme sanity that is the mark of a great Sparks record like this.

Never has Kesha's music felt this inspiringly rich. It has all the potential of once again making her a staple on the music scene, and this time even beyond pop.

Some listeners may miss the rawer sounds and leanings of her debut and the instrumental adventurousness of her second album, as Lahey wends her way through a less incendiary and more restrained sequence. Still, she employs volume dynamics skillfully, her melodies are consistently enrolling, and her lyrics, at once colourful patter, empathetic pep-talk, and a vehicle for catharsis, are aptly accessible.

Whilst there’s a great range of material to lose yourself in here, it can at some points feel a little like (Whirring Marvels In) Consensus Reality is composed of many different albums – switching swiftly as they do between ideas from song to song. Your mileage will vary, and the excited mixture of material did little to affect my enjoyment of the album, but it’s worth pointing out nonetheless.

It may not be revolutionary in its music or pantomime, with some evident missteps. Still, the secret society is doing a world of good by exposing a gamut of fans to the many genre-bending tricks they possess.

Broken By Desire To Be Heavenly Sent is a triumphant return from Capaldi. There’s plenty that’s consistent with his debut.

Tracey Denim manages that difficult task, of creating an album that feels like a self-contained world without losing sight of songs that really work in and of themselves.

The Love Invention isn’t quite the crown grab it has the potential to be, despite her being on brilliant form as always.

The Album is a solid effort of accessible pop-rock, and to expect any more or less from Jonas Brothers would be foolhardy.

On What’s Your Pleasure? though Ware sounds simply like a serious star, on an album where she finally has the confidence to commit to her most theatrical tendencies and cut loose at the same time. The effect is liberating in the way disco always intended.

With Ali Chant on production duties, Cloth seem to have found the fullest version of themselves. There is an added intent to tracks such as “Lido”, as Rachael and Paul bring their most interesting ideas to the fore, instead of burying them in the mix.

Woods presents a complicated dynamic but a contented one. He’s a man ill-at-ease with his profession, his place in the industry and within society, but at least he’s another great album closer to being comfortable with himself.

The Rat Road is a record from not just a producer, but an artist, fully in command of his new direction.

An Inbuilt Fault transcends emotion in favour of exploration.

While the first third of the LP shows a band more focused than ever, the lack of playfulness proves a detriment going into the middle chunk of Everything Harmony. ... The third to last track, “Ghost Run Free”, offers hope for fans.

We're left with 14 songs that, as promised, deliver a more personal side of Sheeran, who pens ruminative statements such as "Is this the ending of our youth when pain starts taking over?" ("End of Youth") yet he still alludes us through pop songwriting that is convinced emotions need to be dressed up as repetitive pedestrian motifs and served up on a silver platter.

All of This Will End is an album to listen to while driving fast into the sunset, windows down, trying to make sense of the world.

First Two Pages of Frankenstein is yet another dose to remind you why – and how – the band have managed to carve their own special place out in the cultural landscape.

That! Feels Good! isn’t as lyrically vibrant or extraordinary as What’s Your Pleasure? but holds its own with slinky grooves and a lane where Ware feels most comfortable.

Imagine This is a High Dimensional Space of All Possibilities is one of those rare records that is very long but doesn’t seem to have an idle moment. The album becomes deeper and more rewarding with each consecutive track.

Creatures of the Late Afternoon is a significant evolution since his seminal work Carpal Tunnel Syndrome, showcasing an impressive restraint of oversaturating us with dizzying samples and flashy turntablism and instead focusing on letting the music speak for itself.

Enter Shikari are as invigorating as ever, and perhaps at their most invigorated too.

The core of the album, for all its cultural commentary and musical relevancies, is just a solid guitar-indie foundation.

A four-track run from “Spider” to “New Magic II” – which includes the title track and “St. Francis Waltz” – proves a career best for Rose, housing her most affecting tunes yet.

The album’s been in gestation for two years, and yet with a few exceptions the ten songs here sound like offcuts. It’s not that Fuse is actually that bad – but it feels like a futile exercise, a series of turns down paths which don’t go anywhere.

It is a record that embraces recovery and revels in the joy of reclaiming what you love and wanting to go further with it. Gregory’s debut is an album that tells a painful story, with a renewed sense of optimism.