Glasshouse isn’t exactly groundbreaking. It could also do with being about half its mighty 17-track length.

Despite the missteps it’s What the World Needs Now’s ability to sound energised and fresh which makes it an album that you can’t dismiss.

Each track here, from the Argentinian horns and swaggering funk of ‘Angels / Your Love’ to the offbeat drumming and joyous vocals (courtesy of soul legend Charles Bradley) on ‘Grant Green’, it’s like a meticulously stitched patchwork of musical discovery.

There are some cringey bits, the title track relying a little too much on well-trodden punk tropes, the vocals ‘Still Breathing’ not as vulnerable as the lyrics might warrant, and ‘Youngblood’ a bit of a mis-step. If punk’s 50th anniversary has shown us anything, it’s that many old rockers grow old, go soft and give in. On that count, if not all, Green Day are faring pretty well.

This time, with their newest album, the band seem to want to give something back, and whilst obviously somewhat dark at moments, it comes loaded with joyous and celebratory sounds.

With room for refinement this isn’t LFY’s crowning glory by any stretch, but it’s a purposeful record that shows a trio holding on to the makings of something quite special.

It’s hard to ignore the inconsistency and feeling that something’s lacking from its second half. That said, the rough-around-the-edges charm and guitar-packed indie give DMA’s a great starting point on this album.

Blood, like ‘Woman’, is honest. It’s an endearing expression of sexuality.

TEEN’s sonic approach is chaotically diverse throughout and this very much feels like an album of two halves; when it captures the alienation and isolation it strives for, though, it soars.

It's just a little more grown up.

While its inconsistencies might betray the circumstances of its creation, it’s comforting to know that The Go! Team’s defiant experimentalism remains undiminished.

Featuring some fairly rudimentary drumming, and predictable solos, this is the musical equivalent of 'painting-by-numbers'.

It's good--but not great.

Sic Alps is an often fine, often frustrating listen which only succeeds when some flesh is applied to those skinny Californian bones.

While not exactly the wildlife-soundtracking level of Nan-friendly safe his day job has reached, it’s largely default Jónsi, just with a few more effects.

‘Are You Fucking Your Ex’ has none of the melodrama its title suggests, the question holding about as much weight as ‘did I leave the bathroom light on?’, and ‘I Got Hurt’ sledgehammers the line “I got hurt… and it didn’t feel good”. For a songwriter who’s so loved for finding poetry in the quotidian, for saying so much with so little, it’s just a bit basic. Maybe if he’d allowed him - and us - to wallow a bit, he’d have had more of a point.

For every moment which drifts slightly, there is another where they toss the superfluous and it all returns to tremendous, streamlined pop.

‘You Better Run’, while perfectly adequate, has the aura of ‘pub back room’ to its chugging riffs; it’s fine, but it’s largely filler. In general though, As You Were is almost certainly the best thing Liam’s offered us since he parted ways with his big bro.

The last third of the record is more streamlined, with the sweeping, subtly metallic ‘Kill Or Be Killed’ offering a welcome throwback to the days when Muse were at their best, but it’s not enough to redeem this all-too-OTT offering.

Seven albums in, they’re not so much shifting the formula as refining it and waiting for cult stardom to creep up on the scene.

Comparisons are all well and good, but ultimately Making Time’s strength is in asserting exactly what Woon specialises in. After so many years away, a reminder was much needed.

Inevitably, in this bursting collection of high energy rock, the album loses its bite towards the end.

The real charm of this record comes in its additional moments of character; the spoken-word interruptions (‘Do Something’) or soundbite introductions (‘She Wants Me Now’) which somehow tie the album together even more tightly.

‘Unlimited Love’ certainly won’t win over the naysayers. As the laid-back funk and wordplay of ‘Poster Child’ attests, all their usual tropes are present and correct, meaning whatever your view on the Chili Peppers, this record will only confirm it.

Your Friend’s unusual combination of the ultra-real with the unnatural world of electronic manipulation makes for a slightly unsettling final product.

He’s created an admittedly imperfect but nonetheless loving ode to some of the greatest milestones in electronic music.

The electronic beat of ‘METALIZM’, with its winding guitars and chanting vocals echoing their melody verbatim, comes over a little too recent-era Muse than anyone needs. But what, on the surface, is mostly a fun, noisy collection does also offer an infinite rabbit hole to dive down.

With highly catchy choruses on ‘Heart of Mine’ and ‘Deliver It’, it’s obvious that the band can deliver the pop sheen they are known for. But while reaching for style, it is only by exception that they achieve their usual substance.