‘ADL’ feels samey at times. .... A rich seam for fans to explore, but ultimately this is a widescreen blockbuster that is big on stunning vistas, and short on plot.

‘What Happened To The Streets?’ provides more questions than answers, and beneath the brash moments leaves you wondering about the rapper’s longevity.

Remaining steadfast in their signature sound, Circa Waves released another nine songs which combines with ‘Death & Love pt.1’ to make an 18 track album. Part two’s first single, ‘CherryBomb’ immediately places you into Circa Wave’s soundscape with its relaxed instrumentation, vibrant riffs and catchy choruses.

Aside from spotty traces of Parker’s genius, at no point does the album elicit any passion since there’s really nothing on there that makes you want to own a copy of it on vinyl or witness the tracklist live.

‘The Life Of A Showgirl’ has its moments, but lacks the consistency of Taylor’s recent work.

Moments of quaint inspiration and insight are few and far between. In the mire of an album experience intended to present Bieber as spirited and multi-dimensional, you instead get an artist spread thin; anonymous, distant, too often bloviating across a bloated runtime.

The entire musical palette lacks any intrigue or seductiveness. Everything feels like it’s cranked up too loud in the mix and pasted with a synthetic and unappealing gloss. However, Raekwon himself is on solid form.

There’s a feeling that ‘Something Beautiful’ is searching for a unity that doesn’t quite coalesce, all while lacking some of the towering peaks of Miley’s more commercially-focussed work. A fascinating one-off, potentially; ‘Something Beautiful’ adds another layer to Miley Cyrus’ story.

‘7 Piano Sketches’ feels slight – a bookmark, rather than a tome.

It doesn’t really coalesce into a total success, despite some unquestionably fun moments, clear skill and grand ambition.

The end result is something that feels both familiar and oddly generic, a set of Lucy Dacus covers performed by Lucy Dacus herself that somehow still leaves out the most vital elements.

On first listen, ‘$ome $sexy $ongs 4 U’ isn’t terrible, but it equally isn’t a vintage release for either artist. PartyNextDoor has undoubtedly released stronger material, and the pair’s regular duets have reached loftier peaks than these.

‘Bloom’ is not a weak album by any stretch. The title aspires to present an album and a band that are maturing and flourishing musically, however it is difficult not to feel somewhat underwhelmed by the final result.

Tracks like ‘Overflow’ and ‘Stained’ are the album’s most impressive. They fuse electronica and rock with genuine elegance, in a way that feels contemporary and, to a certain degree, even cutting-edge. .... Few other tracks catch fire in the same manner, however.

While ‘Eternal Atake 2’ may be content to live in 2020, the rest of the rap world has moved on. Although far from terrible, ‘Eternal Atake 2’ seems to exhibit more signs of the Lil Uzi Vert tail-off – the quality control has dimmed, and the sense of direction exhibited on their early work has waned.

Some of the punkier elements of old are fighting with the grandeur aims of the future. At a time when a new generation of artists is doing inventive things to revitalise guitar music once more, two minutes of snot-nosed punk riffs don’t hold the same sway they once did.

A brash dose of colour for a drab post-Millennial pop scene, she was the bulldozer through the critics doors. On ‘143’ however, there’s a feeling that the world has moved on – with Chappell Roan’s tour sparking Beatlemania-esque scenes of adoration and Sabrina Carpenter maintaining a stranglehold on the charts, you struggle to see where this playful yet unsatisfying record fits into pop’s firmament.

It’s a slight, undemanding effort, and there’s charm to be found if you’re willing to meet the band halfway.

‘The Death Of Slim Shady (Coup de Grace)’ doesn’t quite feel like an ending, but neither does it feel like a continuation. A mixed, often muddled album, it features some of Eminem’s best rapping in a decade – those fast, skippy-yet-intricate flows will never fail to thrill – but his pen is often blunted. It’s at once an effective piece of fan service, while also being a record that disappoints.

There’s no denying, though, that ‘LOOM’ does feel slight. In the era of weighty releases profiled for streaming audiences a mere 10 tracks does seem underwhelming – one song is actually repeated twice, but with added J Balvin for more impact. Far from a disaster, it’s an album that dares to be succinct, but also feels blunt.

Broad to the point of contradiction, it’s a record that covers a lot of bases, while lacking a singular purpose. It’s almost as if KNEECAP are enacting a cartoonish version of their own lives – it’s fun, but ultimately two-dimensional.

It’s hard not to feel like the lead singles live in their own sonic universe. The remaining album tracks, while lyrically co-ordinated, lack sonic cohesion.

The punchy ‘Drink N Dance’ utilises ominous 80s synths, while ‘This Sunday’ is potent, and atmospheric. ‘Gracious’ is carefully finessed, more evidence of the duo’s world-building techniques. That said, though, there’s a huge amount here that simply passes you by. ‘Always Be My Fault’ is meandering, lacking structure, while songs like ‘Luv Bad Bitches’ and ‘Mile High Memories’ lack substance.

While the playing is never less than exceptional – displaying Mark Knopfler’s assured rhythmic sensibility, and his lyrical lead styles – the arrangements on ‘One Deep River’ can sometimes falter.

At times uneven, the project stands as testament to the unique bond between these two A-list rap talents.

‘Everything I Thought It Was’ can sometimes be forgettable across its 18-track largesse, while thematically it feels bunched around a cluster of feelings.

‘COMING HOME’ competently portrays love as part Afrodisiac, part pulse-racing chase, part languorous and lived-in sensation. ‘COMING HOME’ is also tangential to the live spectacle, and that’s okay.

As with the twin EPs that preceded it, however, the glimpses of originality strewn across ‘Lovegaze’ are too often sparse islands in a sea of pleasant but generic etherea.

With a 19-track span and a colossal guest cast, not everything on ‘BLOCKBUSTA’ lands. There’s a feeling sometimes that these collaborations were done separately and then spliced together, with some moments lacking cohesion, or a sense of chemistry. ‘HOMAGE’ with Kodak Black feels flat, for example, while the record’s eclecticism prevents ‘BLOCKBUSTA’ from truly coalescing. That said, there are moments of real bravery.

Its primary strength lies in the way Drake threads himself and finds pockets within the grooves and crevices, foregoing lustre and grandiosity in favour of an understated performance piece. .... There’s an existential paranoia about this recent iteration of Drake, however.

This album is a step in the right direction in terms of mood, but it’s an overstep in terms of the emotional burden Brown is offering. The choruses are repetitive and don’t fit, and the take away should be focusing more on balance. However, it’s not a question of if he can get that balance right, but when.

Ultimately, the Achilles heel of the whole project is how invested, how much fans will truly believe in this. To some, it’s a meme stretched to breaking point, the elasticity of his flute-playing hauled out to become an opaque sheet, void of detail. To others, it’s an excellent – almost unclassifiable – mood piece. Whether it’s the meanderings of an internet-savvy millionaire or the crucial work of a modern day ambient auteur is perhaps in the eye of the beholder.

The chilled, languorous template delivers on value, but offers little else and you can’t help but feel like these are unnecessary filler tracks. At its core, ‘Scarlet’ is an interesting exploration into the world of ego trips, the trappings of fame, escapism and novelty, a welcome deviation with a heightened sense of maturity and finesse.

In truth, the material does a decent enough job of filling the acerbic, punk shaped void left since their decade long absence.

Overall, a pleasantly harmless album with some clear highlights. However, it will be interesting to see how the US singer varies her work as she begins her solo career.

Packing so much in comes at the risk of a more diluted sound and an album which lacks a strong sense of cohesive unity. This is most apparent in the first two ‘planets’, where the result is a little muddled. When not biting off more than they can chew by integrating three entirely different featured artists within a five track part (see ‘Off Planet Part 1’), the album is a fresh and interesting take on experimental electronica.

On occasion, the record feels quite lazy in its lyrical direction and yet too direct, falling into moments of cringe rather than what could have been perceived as powerful and fun.

Some moments are impressive, like the eight-minute epic of a title track ‘Take Me Back To Eden’, which sprawls and writhes between textures and knows just when to spotlight frontman Vessel’s holy outpourings. ... But the issue is, this opus comes over an hour into the album, and follows a number of lengthy tracks that seem to be trying to do the same thing, but less successfully.

Plays it safe, doubling down on the formula that made his debut so beloved by fans, while making only subtle changes.

‘Driving Just to Drive’ drives safely. Perhaps too safely. We may yearn for Maltese to put his foot down, but it could be argued there is solace in safety. Not everything has to be hell for leather.

The result is a solid, if overly safe album that avoids some of the pitfalls of the past but fails to ignite the heart.

‘The Price Of Progress’ is a perfectly functional Hold Steady record, no more and no less.

Courtesy of the blandly produced, overly-compressed vocal deliveries and guitar riffs from Jonas Brothers’ producer John Fields, the act all too easily fall into the inevitable trap of highly-structured song progressions backed by half-baked guitar solos on ‘Same Language’ and underwhelming chorus chants on ‘Kool’.

In her haste to tell her story, ‘My 21stCentury Blues’ suffers from a frenzied second half that cushions the gut-punch it could have been.

‘Five Easy Hot Dogs’ isn’t going to win DeMarco any more fans, nor will it distract from his past triumphs. ... This instrumental offering will, like most of his tunes, act as great company for those who just wanna lay back and disconnect from it all.

A record that feels very much like a side-step, ‘Me vs Myself’ contains little of the soul-searching that the title suggests.

If anything, however, new album ‘Faith In The Future’ is simply too nice. The songwriting is sturdy and well-formed, leaning on his indie roots – you can hear ghosts of the Gallaghers, whispers of Chris Martin – without ever truly channelling something dangerous, or edgy. ... It just doesn’t raise the pulse, or quicken the blood-flow in a way you might long for.

This new album, then, is the perfect piece of fan service. It’s Aubrey on the mic, 21 Savage in full flow. The roll out – which pirated a Tiny Desk session and copied a Vogue cover – was pitch perfect, two artists subverting the expectations placed on them...It’s a shame, then, that ‘Her Loss’ often feels entirely predictable. The foes that punctuate their bars are well-worn – less talented adversaries trying to gain clout; love interests who leech on their wealth and prestige – and while it’s nice to hear Drake unleashed, at times 21 Savage can feel like a passenger.

‘The Loneliest Time’ feels a far cry from the saccharine star that launched Jepsen’s career but proves her musical pliability.

This album is, to be clear, an ambitious, stylish, coherent work of fine art. ‘Tranquility Base…’ grew on me, this may too. But I can’t help but feel that with ‘The Car’, Arctic Monkeys have taken a wrong turn.

In spite of much of ‘CHARLIE’ missing complexity or a distinctive flair, the album remains punchy and bright and what Puth lacks in poetry, he makes up for with glimpses of pure pop excellence.

‘Doggerel’ isn’t a bad record, it’s just missing the audacious grit that is so entwined with the bizarre charm that makes the PIXIES so remarkable.

‘Curtain Call 2’ is at its most engaging when the Detroit figure simply cuts back on the Billboard tie-ins, and reminds us all why he became such a revered rapper in the first place. ... As a project, however, ‘Curtain Call 2’ is weighed down by its flaws. There’s no ignoring the wayward path Eminem has taken over the past two decades, and the tracklisting reflects this.

A record of fireworks, but few surprises. The songs kept succinct, punchy, and direct; there’s no house production about-turns, no moments of revelation, just sheer, unadulterated Khaled. It’s like being strapped in to a rollercoaster – at points its exhilarating, at others terrifying, and by the end you’re eager for it to be over.

An album that is often slight, and occasionally cartoonish. There’s a lingering feeling that not only can UK rap do a lot better, but so can Aitch.

While it does knock out some definite singalongs, sprinkling in some fun hooks and catchy structures, there is something missing beneath the veneer of theatricality. This is an album that hints at complexity, but it is inevitably overshadowed by Urie’s one-man-show.

A bold, contained statement nonetheless, doubling down on her niche style with a few twists and turns brings us some truly great moments to cherish.

The record is funky, it might sound good near some waves (the title is also a play on the .wav format for digital music files, which Harris is constantly sending to studios across the world), and the beats generally bounce happily along. It does what it says on the tin.

At times frustrating, ‘The Last Slimeto’ is never less than entertaining. A bracing, defiant gesture, it finds NBA YoungBoy embracing freedom with both hands.

There are a few points in the album where Lauv begins to take an interesting turn, only to retreat to familiarity.

While ‘PANORAMA’ at times feels repetitive, there’s certainly moments that smoulder with passion, sparkling with Kiyoko’s signature charm.

It’s just unfortunate that ‘ISTHISFORREAL?’ is less of a philosophical treatise and more a frustrated misrepresentation of Purdy’s abilities.

It’s not expressly about anything. This is music that performs confidence, that uses confidence as a genre rather than embodying it in any convincing sense.

While this might not be the most fun album to listen to, Neil Young and Crazy Horse deliver solid performances that elevate it from seven songs of despondency.

Haines’ singular vocals have always been the band’s not-so-secret weapon, and it’s here [on ‘Enemies Of The Ocean’] where they shine greatest, jumping from hauntingly beautiful to full-on rock goddess mode. However, much of the rest of the album just goes to highlight how it’s a game of two halves. You could literally compile a list of the numbers that are over five minutes as the standouts and ones under as pedestrian.

If they’d dared to be a little more vulnerable with their sonic approach, ‘World Below’ could’ve been an immense album. Nonetheless, Baby Strange are back in valiant style.

Neither one thing or another, the lack of definition on the project results in something quietly rebellious, but curiously unsatisfying.

Unfortunately, HAAi’s music here tends to be a bit stiffer, forgoing the benefits of a heady groove in favor of direct impact. If you’re up for it, it might well help you ascend, but it often feels like a forced way to go about it.

At times pretty, at others curiously appealing, ‘AIR’ is more-often-than-not simply boring, ca selection of mood music that fills up space without every truly saying anything.

While elements of ‘Every Shade of Blue’ may struggle to cut through its over-ambitious production value, the album is bound to translate well on the big stage regardless.

‘Come Home The Kids Miss You’ illustrates that he’s not quite there yet, but he’s certainly Justified.

It’s not a bad record – the highs more than justify your entrance – but with a rumoured follow up on the way, perhaps it’s time for Future to break a few of his own rules once more.

While undeniably sweet on a surface level, 'Cry Mfer' is a clear reaction against the self-seriousness that runs rampant throughout indie music, and while its conception proved challenging for My Idea, this debut is a clear sign that specific working relationships can bear remarkable fruit.

At best a fiery evocation of the electronic elements that team thrive on, ‘Paradise Again’ isn’t hell-on-Earth, but it doesn’t leave you enraptured.

This awareness of his public perception seems to dominate the album, even in the tracks that don’t outright address it. As a result, the overall mood is far less authentic.

There’s enough here to make even the most discerning New Rap playlist – but as a body of work it doesn’t land in the effortless fashion that made EARTHGANG such a pivotal pairing.

While a fun and energetic record, much of the songwriting falls into the somewhat forgettable. Everyone is bringing their A-game, and they're having a blast while doing so, but nothing entirely sticks to the ribs.

Ideas are left unexplored, while 2Chainz innate abilities – on his day, one of the best MCs around – is clouded by a willingness to pack the tracklisting with guests. If this truly is his last trap project, then perhaps a change is overdue.

There are moments where Dior shows his undoubted potential and those moments save this album from being completely mediocre, unfortunately, those moments don’t come anywhere near often enough.

The outer edges of this album are impressive, but why couldn’t they penetrate the main parts of these songs and this album more? Instead, they are eye-opening but ultimately useless ideas that must make way for the dry 808 beats we’re all too familiar with.

While casual listeners might find the overall listen a bit sparse, there’s no doubt it’s the perfect soundtrack to a Halloween party, or indeed a Halloween Movie™️.

Ultimately ‘Fighting Demons’ works almost as a tribute record, gathering fragments of his undoubted genius. Whether it’s a true Juice WRLD album, though, is another matter.

It won't appeal to those who prefer his party anthems and vibrant disco, but for those who want to see yet another side to this most prolific of musical minds, it's a voyage worth taking.

It’s a theatrical 10-piece song cycle that neatly extends their work, while nodding to what came before. At its best – opener and lead single ‘I Still Have Faith In You’ for example – it comes close to reaching the transformative peaks ABBA scaled all those years ago. Yet for a piece of fan service ‘Voyage’ remains confusingly slight.

O’Connell colours firmly between the lines. His ideas do not stray beyond the conventions you’d expect for each singer-songwriter outfit he puts on from song to song.

Always Inside Your Head is often a frustrating album, peppered with sparks of genius and disappointing dead-ends. Ultimately, though, it’s another example of an artist constantly – restlessly, you might say – developing.

Unashamedly broad, it can lack detail and punch; yet ‘=’ has something about it that is difficult to shrug off, while being hard to truly relate to.

‘Music Of The Spheres’ is never less than listenable, but rarely raises the pulse.

Spread across 18 tracks, Meek Mill's creative contouring isn't fully consistent, leading to some awkward moments; 'Love Train' and 'Love Money' feel insubstantial, while the mid-section loses its punch.

It hardly moves mountains as a standalone effort, but is moderately impactful and somewhat befitting of its lofty pandemic-era presentation.

When it punches hard, ‘Jose’ doesn’t miss. ... Yet ‘Jose’ – like Drake and Kanye’s efforts, previously – is led down by quality control. The creativity is undiminished, but it struggles under the weight of its 24 track span – clocking in at more than hour, the record at times tries the patience.

Aubrey Graham hands over his fifth project to cross 80 minutes, an hour and a half smorgasbord of all-new tracks. In his defence, the Drake cuisine is far too extensive and varied at this point, but this dilemma has been around for a number of years now and some sort of sacrifice for a better, more cohesive project has to be made if he wants to release another classic.

There are some real moments of beauty on the record - 'In Blur' aches and sparkles, whilst singles 'Great Mass Of Colour' and 'The Gnashing' showcase a band adept at building beautiful soundscapes even with the guitars turned down - but at a certain point, the album suffers from the lack of depth in Clarke’s vocals, or range in his melodies.

A bold gesture weighed down with excess, 'The Voice Of The Heroes' is a worthy experiment, one that feels destined to be a cult favourite.

Continual evolutions has pushed them away from their roots, feeling less like a band and more like a committee, marking out different strategies without truly owning one themselves.

Some good, many passable, a few questionable, to say the least. There's plenty here to pick out and enjoy, and that's all that will matter when the single songs are playing in your pocket, but after all the gems the label has given us over the years, 4AD deserved something better.

Hemmed in by their own ambitions, ‘The Battle At Heaven’s Gate’ is an oddly contradictory experience, one that finds Greta Van Fleet truckin’ on up a one way street.

Feels curiously unfocussed, and lacking in purpose.