As it stands FM! is little more than a placeholder--an interesting but self-indulgent sketch from an artist who could be creating masterpieces.

Throwaway fun, for sure, but throwaway all the same.

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

Peter Katis’s production can at times strangle the band’s live thrash.

While at times lacking in lyrical insight, Fink’s ability to maintain an atmosphere, to build up gentle, soothing bubbles of sound, is largely unmatched.

Though its DIY production takes some getting used to, it’s an interesting insight into where Smith is as a songwriter today.

Collaboration with Rancid’s Tim Armstrong, huh? Sounds right up plenty of people’s streets. But that “sweet spot” (in the main) seems to boil down to some cheesy scratching in amongst the ska pop (see ‘My Name Is Rat Boy’) and Jamie T-style vocals. But all is not lost. The keys of ‘Follow Your Heart’ are dreamy and unexpected.

'Limbo' is certainly not a representation of his best work, but rather an example of a talented artist not pushing his boundaries.

Tracks still miss on occasions, and Glover writes with such self-awareness that the listener can regard him as a full-of-himself show-off, someone who believes he deserves musical success just because he’s achieved it in television.

Cosmic Wind still manages to set a mood, languorous and lush, perfect on a capital’s rooftop, cocktail in hand, the last sunrays hitting perfectly. But you can all too easily imagine this slotting into some Spotify algorithm, a mood playlist titled “Summer Vibezz”.

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

Musically stripped to the basics, the set is engaging with an infectious charm, neatly adding to that capacious back catalogue.

‘Spell My Name’ [boasts] moments of rich maturity, the kind of lyrical openness that has always made her work so intriguing. Yet there’s also an unwillingness to embrace contemporary movements in R&B, in the manner of, say, Brandy’s recent LP.

Across its 10 tracks, the album focuses more on the complete experience than unexpected instances of sidestepping intrigue.

A band mentality may of allowed the material to work some new ground but as a solo project we’ve a dense collection all sticking to one vision. One to dip into when the storm clouds are approaching.

Distortland may not see them return to the genius pop level they had up until 2003's ‘Welcome To The Monkey House’. But it is much closer.

The Golden Age ultimately comes across as try-hard penthouse party than wild warehouse rave.

There’s still plenty to admire here, especially Gracie’s emotionally raw, brittle vocals and despite the record’s shortcomings, this remains a solid, entertaining debut from an exciting new talent.

Multi-Love undoubtedly reveals Unknown Mortal Orchestra's willingness to reinvent and innovate, yet it's still beset by some of the difficulties that have featured in their previous work.

Loma is an interesting concoction, but one that doesn't always necessarily gel. It's undoubtedly a lovingly produced set of tracks, filled with an almost tangible level of texture, but the songs often don't match their treatment.

It remains a fun and enjoyable pop record, even if its creators do seem more reluctant than ever to venture from their well established comfort zones.

‘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.

There's nothing that innovative or thought-provoking, but that's hardly the point. It’s freaky, it’s naughty, it’ll get your head nodding.

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

Pity Sex may have taken few risks to make a breakthrough album and they’re hardly re-inventing the wheel, but White Hot Moon is a solid effort and a worthy follow-up to debut ‘Feast Of Love’.

Production is loud and punchy and even the quiet bits aren't quiet, which makes all sixteen tracks in one sitting a bit like hard work.

The album can become at times feel too self-involved and unsettled, in regards to the fluidity of the tracks and the thorough examination of emotions, which at time has the tendency to sound a little forced.