There are times where the album is inconsistent; the beats aren't as addictive on 'Rhythm Is All You Can Dance'. The album is at its strongest when it bravely introduces seemingly incompatible music styles to each other.

Largely The Anchoress’ arrival on the scene is a textured and lovingly crafted treat, bursts of melody, backing vocals and tweaked samples making for a lush soundscape.

A more immersive, majestic and ultimately engaging release than album one.

It ultimately falls between two stools - not giving a true portrayal of a Villagers live show, and failing to mix-up tracks enough to justify this ‘re-imagining’ of older material.

At the centre of Panic At The Disco’s best album yet is Urie himself. The charisma and eccentricity of the front man, matched by his jaw-dropping vocal acrobatics sees Urie finally become the ringmaster of his own circus.

The music lacks the meditative quality of similar works like those by Philip Glass. In place of this, tracks like ‘Sunshimmers’ and ‘The Amazon: The Highlands’ produce a warmness that makes the album an agreeable experience, an experience that does not ensnare the listener’s attention.

A remarkable return to form by one of rap’s finest wordsmiths, it’s Pusha’s most focused and cohesive solo effort to date, and one of hip-hop’s strongest long-players of 2015.

In their bid to capture the essence of their bluesy, garage rock, Cage the Elephant have effectively managed to lose the quirky personality they once had, and whilst Tell Me I'm Pretty is far from a homogeneous record, the tracks do have a tendency to bleed into one another, particularly on repeat listens.

Every Baroness album before this has featured huge shifts in style, this being the one where they take the best of each to create a propulsive, thrilling whole.

There's a great Rick Ross album in here somewhere. If only the boss had abstained from some of his extravagant habits and used his editing sheers more cuttingly.

If Deenmamode tempers his idiosyncrasies just a little, allowing his music to breathe better, the results can be even more profound.

This is an album that continually surprises. Rarely has the bleak mid-Winter been so inviting.

It’s clear that Coldplay retain their thirst, their passion for making music--it’s merely a shame that it results in such polite noises.

It's a real shame that out of 18 songs whittled down from a reported 462, the album has just three consistently good songs.

Despite the continuing theme the mixtape is no way disappoints, exuding a level of excitement and appreciation of a body of work that Erykah display’s both through music and her own style.

YACHT have consciously positioned themselves as intelligent conceptualists, not wanting to adhere to what's expected of them, and that makes for an interesting amalgam of deep themes set to brazenly outlandish pop styles.

Partly because it's so painfully eager to please. Sonorous sermons that really should hit home--delivered in an unseasoned multilingual mishmash of tongues (Spanish, Italian, Portuguese, English)--are unflattered by the ersatz backdrop of cheesy latin pop, dire orchestral muzak and (heavens preserve us) Meat Loaf-esque '70s prog.

Hyper, aggressive, silly and just-bloody-gorgeous, it's a perfect microcosm of the album as a whole.

These are mostly decent songs but the lyrical landscape feels wearily well-trodden and it’s hard not to just want a bit more from an artist with the freedom to risk anything.

Despite the more upbeat sound to 'Bite Mark' TRAAMS ensure they still pack enough punch to really sink their teeth into their slightly frenzied and disheveled (but completely hooked) listeners.

Riot Boi is a trailblazing record very much in the now. It's bombastic, and transgressive.

It looks to be a strong move in his transition to adulthood and proves there's far more to him than being a pretty face for schoolgirls to swoon over.

As a document of four years of on-off collaboration it is fascinating, and for fans of either artist it's pretty much essential.

For the first time, it's Bleeker's most mature output yet and solid terra firma for fully realizing the group as a band in its own right rather than a mere side hobby.

As with most of Numero's releases to date, there are moments of gold in amongst plenty of enjoyably period music and it's best consumed in one, immersive and overwhelming sitting, accompanying book to hand.

Many Moons is more than a mere side-project, and a solid debut album for any season.

This teaser [is] no doubt just the beginning of a new strain of avant-footwork coming our way in 2016.

What he delivers doesn't disappoint, and it's a tantalising glimpse into where R&B might be heading in 2016.