'Great American Painting' is a record that is strongest for its instrumentation, featuring The Districts' typical cross-streams of guitars that amply lamenting vocals, intriguing listeners by making reference to social issues within America.

Overall, ‘Ego Trip’ is proof that Papa Roach still have their finger on the beating pulse of heavy music.

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.

There’s still the trademark sass and joie de vivre throughout, but this feels like a more mature and evolved body of work from Rita who has shed her skin to show some vulnerability and creativity than before.

On ‘Sorry I’m Late’, Mae Muller shows that it takes time to perfect and craft a great pop album and that’s what she has done here. Every track could be, and probably should be, a single.

Most of ‘Halo’ was sculpted on the road, a moment of pause and introspection that affords Bakar space to surge forwards creatively.

This combination of sounds and personalities diagnoses the band and album number four with bi-polar disorder. Let's pray they never recover.

Soft, smooth and a breath of fresh air, if Liquid Cool is on the menu, I’ll have a glass too.

An album of huge promise rather than an instant classic - 2:54's time will come.

There's nothing completely new here, but fans are sure to be satisfied, at the very least, until the collective's next album arrives.

‘Further Out Than The Edge’ is a creatively rich and inspiring debut from Speakers Corner Quartet, an emblem of their sixteen years spent together as a community of musicians.

Often it feels more like an overly conscious art project rather than an album that will sustain repeated listening; it's undeniably, admirably beautiful in parts, but ultimately too consciously cerebral and self satisfied to love.

Combining this pandemonium with a more polished finish on the cosmic pop of "Echoes" and trademark falsetto chants of "Venusia," it's safe to say Surfing the Void was worth the wait.

A gentle and mellifluous set of songs.

On first listen, it’s hard to ignore a sense of inconsistency and feeling that something’s lacking from its second half. That said, come the second time listening you start to stop questioning the diversity and simply celebrate the fact they’ve got the repertoire, and guts, to mix everything up and make it work.

‘The Bridge’ is so much more than a clever concept album, there are links between each of the songs and the prolific musician takes to the theme like a duck to water (sorry!) and whilst water is the common denominator, it is really about connection - connection between people, life and death and more.

The sugar is here, but teeth will get itchier.

At times spread too thin across its 17 strong tracklisting. ... ‘Trip At Knight’ serves to finesse his sound and approach, allowing room for Trippie Redd to attempt new projects within his digi-focussed framework – it’s a chapter so many of his contemporaries have been cruelly denied.

Ultimately, ‘They Got Amnesia’ succeeds in its ability to balance punchy, straight-up rap with a tinge of the bittersweet.

While there is nothing here as magically refined as 'Made-Up Love Song #43', and Dangerfield's lyrics sometimes veer into fromage-land, Walk The River represents a must-have for those with pop tastes.

While the trap state of mind may be a bleak one, it makes for a stunning piece of music.

This is an easy album to lose yourself in, but a difficult project to truly grasp. 19 songs, almost a full hour of music, a glimpse into a psyche that is frequently dominated by darkness; ‘Since I Have A Lover’ is 6LACK’s crowning statement.

Marina describes the album as “intricately produced” and that’s where the problem lies. Such attention to detail leaves some of the songs feeling pretty sterile and, as a result, it’s a frustrating listen.

Again Future marshals the glittering soundscapes expertly, his tuneful flow reining in the beats while imbuing all the fragility, heartsickness and aggression that make it the most impressive instrument in rap right now.

The concept of ‘Cottilions’ definitely deserves some applause. It’s a big, brave project for anyone to take on, and rather than disappoint or fail, it impresses, and in some places, it shines.

The speed-rock splendour of ‘Lowtalkin’’ put to one side, the band’s career prospects and longevity probably lie in the strained emotional hypnotism of the more muted, more self-conscious moments.

What we have in this album is a solid set of dance head-turners, but it narrowly misses the rubbed-raw rave charm of 2012’s ode to the 808, 'Transistor Rhythm.'

The most impressive thing about Chasing Yesterday is the playfulness that’s woven throughout it.