With snappier sounds and clearer EQs, the tracks on BlackenedWhite sound much crisper than anything on Goblin – a record that sounded too muddy for its own good.

As an experiment, the album hints at expansion but it feels restrained, afraid to really push hard. Even still, Present Tense has a little something for everyone and is a perfect launching pad for the next one.

It is arguably his most sonically interesting and personal project so far, but its inconsistency punches a few pot-holes in the listening journey. The experimentation here doesn’t always work, but when it does, it shows that Post is heading in some exciting directions for future albums.

Mixed Emotions seems served just too late, and comes off as regrettably stale.

The strange, yet awfully satisfying, collection of tracks certainly won't attract new listeners to the Gorillaz catalogue, but synth-infused pop tracks like "Revolving Door" or "Hillbilly Man" will appease most listeners.

Ultimately, Tracey Denim lives and thrives in the shadows of past greats, but is unable to escape them.

Make no mistake; the album isn't a failure, it's just sacrificed a little too much to be a success.

Throughout Fly Siifu’s, the duo offer nothing more than a chill rap record, which has highs and lows. It’s a fine record to put on in the background, but a slog to try to focus on, as so much of it blends together with hardly anything to standout in the end.

The fragmentation of characters, the dislocation and purposefully disruptive sense of a core musical identity on Warm Chris make this a collection of disparate songs rather than a body of work – for some this will be a boon, for others problematic.

Exister succeeds at painting a portrait of his despair in charcoal. Unfortunately, as a piece of music to consume it’s just too choppy and incoherent to elicit a feeling. In the end it’s a risky exploitation of his frail psyche, a destination already travelled to and not worth revisiting all that often.

It's all very well-done, but it's not something that you'll feel much incentive to revisit over and over; an experience worth taking, but not necessarily one worth repeating.

No Witch might not be a particularly ground-breaking album, but it is a significant leap forward for this band, and that's most definitely a step in the right direction.

Splazsh's followup simply doesn't hold the same tension or drive.

For every fault that Neighborhoods has--and it has quite a few--the album is infectious and catchy.

What this results in is an album that is just as frequently successful as it is frustrating.

These are pretty songs, but largely forgettable when amassed together, and though EYEYE is an honorable attempt at switching lanes yet again after a divisive fourth album, it mostly comes up short as a finished product.

The album's top heavy, and its finest moments come when T.I.'s able to look past himself, whether it be to attack the legal or education system. The rest is frustratingly mixed.

Fatigue, for all its many-sided intrigue and snatches of moving beauty, can be a bit like driving by a series of natural wonders at 150mph – too fast to truly appreciate what’s there. There’s a purposely otherworldly vibe to these 29 minutes, but the moments when Cheek the artist is most nakedly visible in the constellation are when Fatigue feels most successful.

Clark and Byrne are never fully on the same page. Instead they ricochet of each other, flying off on miniaturized tangents that never stray far from home.

While Ship has a few compelling moments, it's mostly lethargic and sinks into its own monotonous haze.

Soft Metals shows a ton of potential, and each track is polished with care, but it is hard to overcome the album's mostly simple pattern.

Her well of inspiration has always been deep, with songs about environmentalism, family troubles and small town gossip, but it seems now, when pressed too hard on the idea of maturity, Musgraves appears all too shallow, and no longer the three-dimensional character we loved and craved so much.

An ambitious concept, but not fully executed, Top Ten Hits Of The End Of The World is stuck somewhere in-between.

While Róisín Machine is probably the most straightforward album she’s made, and is clearly within her wheelhouse, it just leaves a desire that she had pushed things even further, as we know she’s capable of doing.

The project is full of snappy, polished pop-R&B songs that never go too far astray in quality but can be a repetitive experience when considered as a whole.

By cause and effect, the music submissively ambles between full-on 80s throwback mode and stylish juxtapositions of different sensibilities, sometimes frustratingly so for those inclined to want to feel or hear something new. More often than not, The KVB are simply great at reconfiguring their core influences in fresh ways instead of blowing it up into an all-out pastiche, which isn’t an easy thing to do when your music summons such a specific set of atmospherics.

Algiers are unpredictable yet methodical, driving with eyes closed and reacting to the wheel’s vibrations instead of making it shake.

The levels of electronics that come in and out subtly, but skilfully, on the album's best songs are an indication of how much time Jason Drake has put into them. It's just a shame that this shines light more intensely on the songs where he didn't.