Not really his strongest material, but still nothing less than a revolution for Kozelek, truth be told.

It’s a pretty affair, but lacks real depth.

Tomorrow’s Hits proves that The Men aren’t hardcore heathens but rock tragics at heart, that they do whatever they damn well please – and do it damn well.

Track selection flows along nicely and extra credit goes to the sound engineers for capturing the warmth of these performances.

It’s an album that’ll please the indie and hipster kids, but one that’s also accessible for the mainstream music lovers.

These songs are written for the front rows, for the friends, for the strangers and believers.

This is his best yet.

Recess sees Skrillex taking chances and flexing his creative muscles.

Miller-Heidke has found a healthy blend of the quirky elements of 2008’s Curiouser and more serious nature of 2012’s Nightflight.

Kiss Me Once is the kind of important album that anyone forced to live in the closet can cling to as they wait for the day they can burst out and sing, “When I got my back up against the wall/Don’t need no one to rescue me”.

Building around the simple title and adding a few more voices, instruments and ornaments for each refrain, it’ll likely be lots of fun live too.

If you don’t have it, get it.

There are some glimmers of gold, but mostly Supermodel just isn’t much fun.

This is a moving, enchanting album.

The 14 tracks span a mere 35 minutes, so don’t expect any epics, and it’s advisable to give your speakers a good flogging for maximum reward.

After 15 years and as many band member changes as studio albums, it’s amazing Taking Back Sunday are still around for record number six, let alone sounding as good as they do.

It is lovely though to finally hear Everettsmith let loose, shaking off some the adult contemporary appeal with the rhythmic roots-style Whisper.

Beth Hart is one of those raw talents of bluesy vocal gymnastics whose repertoire does away with any expectations one carries into the genre.

With this album, Architects reach into your chest like an Indiana Jones villain, tear out your still-beating heart and make you stare at it for 11 tracks of maximum brutality.

It’s sincere, sure, but comes across as too sincere to the point of cheesy.

It gets slightly cacophonous at points, but Ellis and co have been careful to allow enough space for the tracks to develop, building a dark and brooding atmosphere.