Although this album does replicate almost everything they’ve created it has that sense of maturity about it, showing that over the sixteen years they’ve moved on from their rebellious teen stage.

The project doesn’t really find the band moving outside their comfort zone – indeed, ‘Candid’ is defined almost by how resolutely ‘Whitney’ it feels.

This is an auspicious start, but it too often seems that Samaris lack the inherent ability to fully realise their ambitions.

All this does is reassert the effortless, enduring power of those original pieces; find the originals and save your pennies for the forthcoming Carpenter tour.

It is impossible to deny the craftsmanship with which the trio have sculpted the opening salvo of 'This Is It' and 'Loveless'. ... Sadly his talent for building epic, emotive crescendos does not overshadow his shortcomings as a lyricist.

Asymmetrical and pitched up and down at any given moment, Miscontinuum is an unwavering data stream whose moments of relative clarity still press on your temples like a tightening vice.

For all its lack of idiosyncrasies, however, there’s a credibly unashamed attitude to creating perfectly fine pop songs.

While end-of relationship heartache churns throughout You & I, there is enough twisted darkness to suggest these sisters are here for the long haul.

Most of these tunes are neither dog turd nor diamond. They're decent-ish disco-punk stompers sold by the vocal.

An honorable effort in what they do best.

Azari and III are good clean honest fun, but not the future of music.

There’s a lingering feeling, though, that 2 Chainz hasn’t quite distilled exactly what to do with the opportunities being presented to him.

Repent Replenish Repeat is their most mixed work to date.

The hallmarks of Simian Mobile Disco are present - huge beats and house loops take centre-stage - but many of the tracks just feel like they're missing a vital component.

The whole set comes off like a collection of Future songs--with some Drake verses clumsily tacked on as an afterthought.

BDL Bipolar will give Narstie’s fanbase plenty to enjoy, and while the juxtaposition of staid instrumentals with subversive lyrics is jarring, he remains a gifted MC, worth hearing out.

Their interpretation of Barrett Strong’s ‘Money (That’s What I Want)’ and the mysterious sounding ‘Fever’ brings a different dimension to these classic songs and breathes new life into these and other legendary songs.

CCCLX is fantastic as a momentary escape from the lights and sounds of the mad world we’re living in, but once you’ve holstered the pastel pink desert eagle and left the booth, you’re left with only a handful of killer moments that might entice you to return.

The ’80s sci-fi pastiche meets early-’00s girl power wears thin over 11 tracks, but there are still moments for the dancefloor.

A work of typically broad imagination, not everything on American Interior fully clicks into place. Yet when it does, there’s more than enough to suggest that Rhys need not cease his eternal voyaging.

Sadly there are too many beats and samples that it can be hard to keep up with the ferocious pace, despite the obvious talent and flashes of genius on this record.

At times the effects are superb.... However, there are wobbles with the quality control.

We’re submitting this one for further clinical studies.

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.

This is hardly music to quicken the pulse and there’s no escaping the sense of sameyness over the album’s 40 minutes.

Diamandis is using her music to discover who she really is. That said, by the end of Froot, we're still none the wiser.

Nothing here transcends either songwriter's back catalogue, but Jonny is a welcome blast of warmth that shows the fires still burn bright.

An album that could be the soundtrack to the most fucked-up cowboy movie yet to be made.