This album works best when those ideas are allowed to flourish and persist. When the arrangements get too embellished and full, they veer too far away from what makes Carpenter’s economical gestures so enduring, relying too heavily on virtuosity for comfort.

It's a bold and stark opus worthy of attention, if your attention span is long enough.

A pleasant, occasionally saccharine listen.

It’s a jarring listen from start to finish, but worth sifting.

An honest and admirable collection that merits some attention.

No, No, No is as sweet but as filling as an after dinner mint, and sadly it's probably dinner this album should accompany.

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.

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.

Overall, whilst Semicircle does contain obvious flaws, this chapter of The Go! Team is here to have a good time and hopes you are too. And who can knock them for that?

A new chapter for the band perhaps, which may lead to some great results in the future. But whittle away the highlights and you realise Grasque perhaps works better as a great EP.

Who cares if Stoltz listens to the Kinks and Beatles too much when he sings like an angel?

Major Lazer stands for firing on an all cylinders but doesn’t warn against the oomph taking leave of absence, though it does play off the shoulder of the first LP just lovely.

‘Iceman’ is at its most interesting when exploring these conditions and vulnerabilities, but all too often Drake relies on tropes from previous albums to get him over the line, when he should have been trying to burst through the tape.

It’s by no means a bad record, but won’t be the trap pioneer’s most memorable either.

The best moments remain the songs where the band moves as a unit, conjuring a sense of hope and elation, rather than falling back on tired, shouty punk cliches.

‘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.

French’s flow and character may be the same as his previous works, but his stature within the rap world has rocketed.

Useful, thrown-back fun, comfortable off the cutting edge.

Overall The Secret History (Volume 1) is a well constructed and complete portrait of an early Pavement, but with the release's main audience being the avid fan (and with all these tracks available on 2002's 'Luxe and Redux' reissue of 'Slanted...') this leaves only the mad and the keen with a turntable who'll truly want it.

With a sound centred around a tunable percussion instrument called a hang (think mellow steel drum), skittering jazz drums, saxophone and loops, the quartet, who live Monkees-like in a shared house in East London, serve up a fresh vision of jazz, drawing sounds from across the globe.

Things are prone to occasional lulls with three tracks exceeding ten minutes. However, Johansson is capable of some beautifully stirring music, and when this album soars, it is a treat.

The songs that do aim to be bigger however, simply don't stand-up against their previous work or the mellower parts of the album.

MNEK absolutely knows his way around a pop banger, and it’s his expansive, polished production on more upbeat moments that saves Language from falling flat with cliché lyrics and the dreary lament of slower tracks.

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.

Dear River is an interesting collection but, while pretty, these songs sometimes sound a little too slick or obvious.

It's a band comfortable with the idea of growing up but like kids trying on their parent's clothes, the ideas behind Aabenbaringen Over Aaskammen are a little oversized but not by much.

For such a young talent, his lyrics are strong, but give him a few more years of life experience and they could be in a different league.

THE S.L.P is safe. It’s the untainted evidence of a missed opportunity. Frankly, someone of Serge’s caliber could have plunged deeper into the void of sonic exploration. There’s always a next time.