This is not an album that you're going to come back to again and again. It's tuneful in places, but ultimately pretty vapid.

In succeeding for much of Human, Brandy makes a committed and surprisingly emotive return.

Newcomers to Justice will find A Cross the Universe only an occasionally endorphin-boosting experience, with most of the rest of the record a polished, if soulless recording of a group nearing the height of its powers.

For the most part Marshall gets it spot on, but when she doesn't she only serves to highlight the quality of the originals.

Obviously all is still not perfect in Britney's world, but Circus still does more than enough to remind us of why she's one of the world's most iconic pop stars.

While The Circus will undoubtedly sell bucketloads of copies, it does all become rather samey after a while.

In this day and age, though, people would be better off cherry picking the best tracks for download.

It is odd that something so standard provides the denouement to this album, trying to span over a decade of fan loyalty. Will they buy it? Undoubtedly. Will they like it? Who knows.

There are some amazing moments on this record; it's a crying shame that they're linked with the sound of a band treading water.

This is a quiet, dignified record which, while maybe not being the most exciting album you'll hear all year, would make a cracking Christmas present for the more mature relative in your life.

This is an album that challenges you, and makes you want to understand more, which in today's disposable-pop world is probably not entirely a bad thing.

At its best Intimacy is taut and claustrophobic or movingly sentimental, but for the main part it is repetitious and bafflingly poorly realised, especially given that they could have had an extra six months to work on it.

Erratic songwriting is evident from start to finish on the record.

Obviously nobody's expecting them to record anything revolutionary at this stage of their career, but it's fair to say that this album will probably only get Cure enthusiasts excited.

A Hundred Million Suns isn't a bad album - in fact, in parts, it's rather good. It's just that to find those good parts, you have to wade through acres of very average filler.

Angst is very well in small doses, but over an entire album it can start to grate.

While this isn't the daring brave leap forward that was whispered about when Spiralling was released, it will no doubt prove another multi-million seller for the trio from Battle.

six songs may only run to seventeen minutes, but for the devoted it will be a case of quality overriding quantity.

They rarely take a step out of their neat little country twinged pop-rock corner. This is a real shame because these songs belie a musicianship that can produce work much greater than this.

The Spinto Band are genuinely highly impressive musicians, they're still as creative as ever, cramming riffs and off-kilter rhythms into their songs like clothes into a brimful suitcase, but creativity isn't always synonymous with good music.

From this you'll gather that Ferndorf charms and frustrates in equal measure.

It sounds a bit like they're trying too hard, trying to be too clever in their pursuit of "technicolour joy".

Surprisingly though, Snowflake Midnight, if it is heard widely outside of fan circles, may win the band more fans than their more straightforward output.

Does You Inspire You has a few high points, most of them hidden in the quieter corners of the album. In its more strident moments, though, it's just plain puzzling.

This is an album which feels like it was made quickly, not because of artists reaching a terminal velocity of creativity, but to take maximum advantage of an audience who may not be there this time next year.

For better or worse, Thievery is ultimately content to stick to the script, busting out another batch of worldly background noise perfect for a post-party VIP lounge in Ibiza.

I was so looking forward to hearing Monkey: Journey to the West, as I'd totally succumbed to its charm in the theatre, but I'd advise anyone approaching this CD to do so with caution, especially if you've not seen it in its glory in the theatre where it belongs.

This is a collection of instrumentals that, when fully peeled back, reveal beauty within, and are fit to grace many a chill out collection. It's just a shame that they stop frustratingly short of revealing more personality, which vocals would have achieved.