DOOM, sparing on the mic, rustles up his usual funk finds with samples sprayed willy-nilly. Teenage sensation Bishop Nehru slots in; assuredly, naturally skilful, with the right amount of NYC, street cypher confidence putting up an all-rounder’s game.

Far from dumbed down and more importantly, rap with a much-needed happy-go-lucky makeover.

Any trace of the identity that once set Foxes apart from other pop acts has been wiped clean. The album resembles a generic template, fashioned by several verified hit-makers, which could feature just about any old pop artist.

A stunning effort all-around, it is a pleasure to have Temples back, the prospect of where they can go from here is one of excitement and thrill.

With its sharply defined highs and curiously odd misses, there’s more than enough here for dedicated fans to sift through, to extrapolate new shades of Springsteen from. For the rest of us, though, there isn’t quite enough to hold our attention.

The grooves might be intelligently crafted, with plenty of interesting rhythmical quirks throughout, but the songs themselves hold little water.

It's nice to start off with but swiftly becoming a tad wet and ultimately a touch cloying.

At times brilliantly cold and clinical, it feels like an album created for a man-made future but with Lovett's soulful croon adding the humanity, you'll feel every heartbeat.

Therapy? have always exuded a commercial undercurrent and it's that ingredient that makes them compelling - equally now as then.

The absence of any high-profile pop vocal collaborations--save for Snoop Dogg on 'I'll House You', which playfully (and successfully) pays tribute to house music circa Dance Energy--and greater focus on the French house and techno that formed him, present Boys Noize at his most venerably accomplished.

It's a gem for Harcourt fans and the sweetest of introductions for new listeners.

Darlings is a concrete mixer full of ideas, although it’s tricky to pinpoint if Drew’s actually laid the foundations of a decent record.

For the most of Friends, though, this is White Lies doing what they do best. There are huge choruses, soaring, ethereal melodies and that distinctively glistening ‘80s production. However, you suspect their formula may need to be tweaked substantially if the band are to avoid self-parody or burning out in the future.

Youth is full of uncertainty, but one thing’s for sure: this four-piece have an impressive body of work to share with you.

A record that fits neatly in to the Maxïmo Park canon, while seeking to distance itself from it subtly.

In aping the sounds that made early rave great--hardcore, breaks and hard house--Vibert has sucked the soul from the genre leaving just a smattering of style. If this is an ode to rave, then it is a hollow one.

Tallulah is classic Feeder, and it is hard to think of anything more fitting for a 10th album.

With ‘Weather’ it’s Saint Sinner’s vocals that give the project direction; when these are stripped away on ‘Simulcast’, it’s up to the listener to find a way though, to draw the conclusions. And it’s these personal conclusions that make ‘Simulcast’ arguably a far more engaging and interesting experience than ‘Weather’.

Eight immersive and somewhat melancholic numbers that still evoke a great sense of calm. It’s a reflective record, made during a pensive season, British winter.

Tracing the lush synth lines running through this album shows Epworth’s love affair with the retro electronics of the 1980s. But their pairing with the sensibilities of modern pop ends up feeling less like the 80s, and more like last decade’s 80s nostalgia.

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.

In its pursuit of a more full, cinematic listen, the project is occasionally hindered by its sense of spectacle, struggling to form a genuine, consistent bond with its listener. Even so, 070 Shake illuminates a path that not many can tread with such confidence, an elevating spirit that pushes the parameters of her craft.

In the end, its sheer creativity and daring means that ‘SWAG’ (just about) justifies its breadth. 21-tracks of frequent daring, this Justin Bieber’s testimony, for better or worse.

We’re submitting this one for further clinical studies.

Angie Stone’s fifth album, is her strongest to date, as she delivers an LP that effortlessly combines the finest elements of Neo Soul with old-skool R&B.

It'd be unfair to tag Dreams Come True as merely a curio for Grizzly Bear fans. It's more than that--but only just.

While these musicians have no problem coming together to craft a solid, emotional record, the sound is far from being their own.

Scorpion might not be Drake’s most innovative work, but it does help to cement 40’s status as one of the best, and most consistent, producers of our generation, and sees Drake breaking ground commercially if not creatively.