While there's no arguments with the quality of the craft on display, over the course of a 12 track album, you may find yourself nodding off sometimes. Yet there's still a warm glow to this album, and anyone who's missed the sound of Knopfler expertly working the fretboard, will find much to love on it.

There are still a few forgettable plodders on All Quiet – the likes of Baron’s Claw and Be Young seem to be a bit phoned in. Yet while the fire of 20 years ago is inevitably never going to be reignited, this new version of The Libertines seems to be settling quite nicely into a once unimaginable middle age.

There’s nothing essentially wrong with Evolution, but it just sounds like it’s mostly been written on auto-pilot. It’s always nice to have a musician of Crow’s calibre still active, but Evolution feels more like an inessential addition to her canon, rather than the glorious comeback it was no doubt intended to be.

Big Anonymous is a deliberately paced album that some may find a bit too bleak to visit often. It’s beautifully crafted, as you’d expect from Sarah Assbring, but at times that darkness can become a bit all-consuming. If you’re in the right frame of mind though, El Perro Del Mar’s world is one that’s well worth stepping into.

It’s certainly a confident step-up from Garageband Superstar and if more of Hibberd’s musical personality is allowed to shine through next time around, she could produce an even better album.

It’s another long album – if there’s one conclusion to be drawn from this record, it’s that Justin Timberlake desperately needs an editor – but it’s a return to the slinky RnB pop that made his name. The problem is that there’s not much of the sparkle that was evident about 20 years ago.

Sadly, too much of the Easy Eighth Album sounds a bit hollow and empty, the sound of a band wanting to move on, but without the energy to properly capture the old glory days.

The main problem with Gallagher-Squire is that it all sounds a bit lazy and predictable. You get the impression that they know this too.

Tangk is sadly, and far too often, a rather boring album by a band who can and should be doing much better.

The only issue is that, over the course of a 45 minute album, Masics’ style can drag a bit. When his songs lose Barlow’s influence, they can tend to lose a bit of energy, and as What Do We Do Now reaches its conclusion, you may be a bit weary of mid-paced plodders like Old Friends and Hangin’ Out. They’re not bad songs as such, there’s just not too much to distinguish them as more than filler.

It’s a pleasing finish to a rather uneven collection. People often say that the first episode of a sit-com is disappointing, and you should skip to the second, which is exactly the approach we propose for this album.

It’s not a perfect album – you get the impression that Packs as a band are still figuring out their sound, and they’re at that stage where plenty of ideas are going to be thrown around.

Pink Friday 2 is very much a grab-bag of a record, its 32-minute version sounding no more coherent than the 70-minute version that was released on streaming. But if the best songs sustain her legacy, Nicki Minaj will most likely see it as mission accomplished.

Just as André 3000 isn’t as good at singing, acting or guitar playing as he is at rapping, he also isn’t as good at playing wind instruments, going some way to justify the disappointed reaction to this record’s announcement. That being said, the fun he’s having through experimentation is undoubtedly infectious, and at various points the musical ensemble create such an otherworldly vibe that one forgets the main artist is famous for something very different.

Rockstar is, at heart, a well meaning, fun spirited album. It just pushes the joke just too far. There’s still time for her to make a great rock record, but this isn’t it.

This was undoubtably an excellent night out if you were lucky enough to be in the audience, but as an album it’s a mild diversion at best, which will probably end up directing you back to the Dylan original.

Danse Macabre becomes a career retrospective of sorts, earning credit by not going down the obvious ‘best of’ route. However, to work it needs the different elements to complement each other, and on that score its success is extremely limited.

Too often on The Darker The Shadow The Brighter The Light you find yourself reaching for the earlier albums to listen to instead. While Skinner’s hardcore fans will be pleased to see him back, much of the time this feels a lot like The Streets on autopilot.

If not all of this debut lands too firmly at times, there’s still enough evidence on Sorry I’m Late that people will soon remember Mae Muller for more than that Eurovision disappointment.

As nice as it is (and this is a very tasteful album, seemingly tailor-made to be bought for Mothers Day), Angel Face doesn’t give us much idea of who Stephen Sanchez is, apart from a seemingly nice young man with an extraordinary voice.

Flying Wig is a record that it’s probably easier to appreciate than it is to completely fall for. While this probably isn’t a record for a newcomer to Devendra Banhart, long-term fans will appreciate the change in direction.

Occasionally, songs like Like A God and the fiery Double Dare do recall the band’s old magic, but those moments are few and far between.

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.

There’s material on this album that’s fun, from the bouncy Blondie backing vocals on Pretty Awful, to the yob jazz of Dirty Mucky Delight, but it’s hard to make a case for most of it being essential listening.

The final few tracks have an appealing sense of character to them, harnessing the potential of organic and programmed elements intertwining. The rest of Eyeroll is so abrasive that it’s hard to love, but fans of experimental electronica could certainly do worse than give it a listen.

All in all it’s a decidedly mixed bag, with producer Mark Ronson failing to make the experience even remotely coherent, though during this soundtrack’s highlights even the most committed Nolan fanboy might just get caught up in the hype.

It’s possibly an album that’s easier to admire than to enjoy, but you can’t fault his ambition.

It’s a heavy, lugubrious listen in places but is also the sound of an artist pursuing their art with integrity and investing themselves fully, showing that, while adversity can at times feel all encompassing, there are ways to overcome and find resolution.