Pay The Devil is for Van Morrison completists only.

Mature Themes is simple self-indulgence and that's rarely worth listening to.

There's little in the way of fire or grit here.

It's not all bad, but there's no getting away from the fact the main problem with this lifeless debut is Elkington's voice.

Petits Fours just has too many annoying bits about it to be good.

Green Day have become the very thing they once despised: buck-chasin’ mild boys of mayonnaise corporate rock.

They're not completely terrible. Their music won't damage your ears or insult you, it's just quite spectacularly dull.

Despite it taking four years to come out, pretty much all of the songs on Always Tomorrow are forgettable, and made up of riffs so basic and hooks so anonymous that you’ll probably end up wishing they’d have waited a little longer.

It is impeccably produced and sheened, but it sounds polished to the extent of being soulless.

It truly is awful.

Papa Roach have the tools to be a damn good rock band, but they'll never be one unless they change the bloody record.

The Open Door is an exercise in how not to make a sophomore album (or any album for that matter).

Rather than offering reinterpretation, Malin sounds like an annoying guest at a house party, who despite all efforts to hide the guitar has found it and insists on playing a disparate bunch of songs much to the annoyance of everyone else, none of whom quite have the heart to tell him to stop.

When you're at Rihanna's level you can afford the best songwriters and producers in the business and sonically the album is generally far ahead of her peers. Yet if Sia's Diamonds is a sultry triumph, its character and uniqueness highlights the ultimately hollow pleasures of much around it.

Fixin' The Charts comes with a lofty goal: to grind down the blemishes that mar the rock face of the popular music mythos. But to attempt to "fix" history, to paint over its wrongs with a broad, sneerish stroke, is a gross mis-step in the career of one of anti-pop's savviest purveyors.

Replete with tacky production and recycled ideas, its few merits are stretched to near breaking point.

I'm not going to pretend I know anything about dance, and the experts out there might be thinking this album features the 'tune' of the summer, but for a former Simian fan, this is nothing but a huge disappointment.

The lameness of the words would be forgivable if they were paired with music that provided any kind of pleasant distraction. But across Happy People’s 10 tracks, the band prove themselves incapable of writing a single decent hook.

Drowners is a fun little record, if you want to get all patronizing about it, but it’s difficult to get any further than that because of its staggering unoriginality.

Unfortunately, all this really means is an extra emphasis on weirdly pitched keyboard riffs and slightly dated sounding beats.

To Lose My Life is an album made to a predefined plan with skill and no heart.

The bits which 'aren't bad' are the bits which don't involve Ms Hilton.

Hi-Tek's construction of techno beats and rave stabs on the quirky I Fink U Freeky and heavy brostep on opener Never Le Nkemise just add to the nauseating concoction of trash that comprises Ten$ion.

With half of rEVOLVEr emulating his older tracks and the other half making strained attempts to branch out into rap and dance, it appears that the rappa ternt sanga simply hasn't found anywhere else to turn.

All in, it suffers from a lack of focus and direction.

The whole thing simply flat lines into mediocrity.

Clarke is a genuinely talented songwriter, if rather earnest in his intentions, but in Music for The People he and his mates seem to have lost the plot.