Nearly twenty years on from Suede's debut and he sounds pretty much unchanged.

Aside from a few big hitters, Wonderful Wonderful has too many middle-of-the-road moments. ‘Life Itself’, ‘The Rut’, and ‘Have All The Songs Been Written’ are barely distinguishable, and instantly forgettable.

In these trying times, it’d benefit from being a whole lot more confrontational.

The dirges are ditched, yet the previous elements they made their name with are overdone.

This album unfortunately lacks the depth of both the Mediterranean and the Pacific.

RJD2 has made a bold statement with Dame Fortune but sadly one lacking in much resonance.

The plethora of guest vocalists (J'Danna, BIXBY, Okmalumkoolkat, Heavy D. & the Boyz) means things stay relatively fresh, but more often than not, it's not enough.

EX will neither enliven classicists nor win new fans. We need challenged by this artist, who normally thrives on doing exactly that.

The act of combining musical stylings that range from African tribal beats through to Talking Heads inspired synth pop, with lyrics that seek to overcome a divisive social culture is an intention nothing short of universal. It’s just in the execution where he falls short, leaving little to the imagination of the listeners on an album that strikes a rather predictable tone.

Continual evolutions has pushed them away from their roots, feeling less like a band and more like a committee, marking out different strategies without truly owning one themselves.

While it has it moments, Sheezus is largely devoid of Allen’s pragmatic charm of 10 years ago.

With Polar Bear being fully paid-up jazzers, there's more of an understanding and utilisation of dynamics, which add to the pervading mood, yet the overall feeling is one of ennui.

Meteorites is the sound of a once-great band bursting into flames on re-entry.

The entire musical palette lacks any intrigue or seductiveness. Everything feels like it’s cranked up too loud in the mix and pasted with a synthetic and unappealing gloss. However, Raekwon himself is on solid form.

It’s a dispiriting affair--a mishmash of glam rock, lad rock and heavier indie rock that fails to ignite.

‘7 Piano Sketches’ feels slight – a bookmark, rather than a tome.

It's all pleasant enough, but is clearly trying to be something it isn't, coming off rather shallow and lightweight as a result.

Eight songs, many of which feel too long; recorded in eight cities that don’t really leave their unique mark on the sonic side of the experience; each with a guest who is, at best, an apparition dancing in the shadows of the spot-lit stars; yielding eight largely forgettable arrangements that won’t make a dent on any fan’s all-time top 10.

A brash dose of colour for a drab post-Millennial pop scene, she was the bulldozer through the critics doors. On ‘143’ however, there’s a feeling that the world has moved on – with Chappell Roan’s tour sparking Beatlemania-esque scenes of adoration and Sabrina Carpenter maintaining a stranglehold on the charts, you struggle to see where this playful yet unsatisfying record fits into pop’s firmament.

On first listen, ‘$ome $sexy $ongs 4 U’ isn’t terrible, but it equally isn’t a vintage release for either artist. PartyNextDoor has undoubtedly released stronger material, and the pair’s regular duets have reached loftier peaks than these.

‘42.26’ - unmasked as the previously released ‘Feels Like Summer’ - and ‘47.48’ (which features his son Legend Glover) are the only other enjoyable tracks on the project. The other songs seem to fade and ultimately becomes background noise with no proper substance compared to Donald Glover’s other projects. Lacking the strong narrative thrust so apparent on his past albums, the project is incredibly disappointing.

It all feels a little weary and, whilst there's clear commitment and execution, the material suddenly sounds oh so dated.

At best a fiery evocation of the electronic elements that team thrive on, ‘Paradise Again’ isn’t hell-on-Earth, but it doesn’t leave you enraptured.

Hemmed in by their own ambitions, ‘The Battle At Heaven’s Gate’ is an oddly contradictory experience, one that finds Greta Van Fleet truckin’ on up a one way street.

Move Through The Dawn is an album sadly bereft of impact, from its lacklustre cover onwards.

Every Now And Then takes the form of a transcendental equivalent of the longest summer. Wavelengths stretch leaving you feeling worked over, fatigued and ready for a taste of something new.

Aside from spotty traces of Parker’s genius, at no point does the album elicit any passion since there’s really nothing on there that makes you want to own a copy of it on vinyl or witness the tracklist live.

As a whole the LP’s similar tempos and approach cause the whole thing to float by like a long-lost memory, nice when you’ve clasped on to it but soon it’ll be running through your fingers and out of sight.