On the whole, you’re getting looped, repetitious hooks that are accommodating the style of music being run with. Overall though, Melanie continues to deliver new music to a great standard, which, given how long she’s been in the game, is testament to her talents.

It is simply a good collection of good songs, put together by talented folks to showcase their obvious talents.

Small blemishes aside, CAPRISONGS is cool, calm, composed, and immediately apparent.

Dark Rainbow is the sound they’ve been chasing for five years now, and while it’s not perfect, and lacks the raw edge their earlier works were so good at, it’s definitely a sound I can get onboard with.

Ultimately, regardless of how invested you choose to be in the sentiments of pessimism and dejection, Asphalt for Eden is thoughtful and eclectic, blending elements of shoegaze, industrial, boom-bap, and ambience both sedative and rousing. All the while, it balances a grim, overarching societal direction with a thwarted attitude.

Ultimately, though, the bulk of Holy Fire is another sterling addition to Foals’ repertoire, and the band knows it too.

here’s nothing wrong with hearing these well-written songs, packed with sashaying grooves and wobbly synths, but by the mid-section of the record there is a definite sagging point, and the album doesn’t feel as effortless to listen to as Loner did. Even so, this is as enjoyable to listen to as its former, it’s just a shame that it doesn’t progress Caroline all that much as an artist.

If you’re a fan of Static-X, this is a candid labour of love that moves away from the stigma these releases are known for. It might not be reinventing the wheel, and it may sound like a time capsule dug up from the nu-metal burial ground, but for fans of that time period or fans of the band, there’s no denying its charm.

Present Tense is a comfort album on the pleasant side of catchy; it’s the perfect collection of songs to augment your mood when the weather climbs to twenty-something centigrade.

While not as ambitious as it could have been, Your Wilderness serves as a needed push in a new direction for Soord and co. Whether Harrison remains in the band or not, this will hopefully stand in their impressive discography as a stepping stone to even more lofty explorations for the future.

If you liked the Com Truise of old, you will almost certainly enjoy this, and if you've ever been skeptical about the quality of music that chillwave would be able to produce, Wave 1 should dispel all doubts. Highly recommended.

Memento Mori’s biggest flaw is the middle section, as the respective songs don’t really stand out. Of course, they remain decent at the very least, “Before We Drown” being perhaps the one to return to most. Other than that, this is another solid Depeche Mode album with a handful of highlights that fans should definitely add to their playlists.

Musically, we get a wider array of genres, reminiscing their eclectic classic Feast Of Wire, released in 2003. Nevertheless, Edge Of The Sun flows smoothly from start to finish.

30 might not have been the cleanest of breakups, but it more than translates in lyrical form.

The album endears itself with a simpler style and digestible runtime provided the ridiculous 60s synths and wee-ooh vocals don't immediately turn you off. It clearly will not go down in anyone's book as a classic release, but for a change it's a Pumpkins album that's aware of that fact, cleverly baking that unassuming simplicity into every note and half-nonsense lyric.

It’s a consistently, gorgeously understated record.

While it sounds as though the band are still working on perfecting their recent power/thrash/prog formula that started being established with The Power Within, everything's beginning to be pieced together quite nicely.

No one is ever going to mistake Genexus for anything other than a Fear Factory release, but the band’s slight alterations have produced a change in sound that is minor in execution, yet significant in scope.

The Drop Beneath is the first record of their career that truly feels like the start of something special.

DevilDriver put on one hell of a show, and Winter Kills, while not groundbreaking nor particularly surprising, features material well worth blasting from your speakers or seeing live.

The benefit for The Men playing this sort of music is that where they’re nicking from grows less important--so long as they keep pulling it off. Pull it off they do in spades for the third straight record, save for the fact The Men have yet to figure out how to make their ballads as compelling as their high-octane songs.

Patina sounds pristine and good enough to justify its own existence. When the highlight ‘Special’ carefully laces its framework with enough sparkles and ethereal vocal melodies to light up a pitch black sky, it’s hard to feel anything but joy. Tallies make music that, in absence of originality, is of excellent quality.

Pop music this shiny and smooth always captures our ears but rarely captures our hearts. Even if the same is true for the sticky sweet Good Grief, it provides a silver lining for Lucius to aspire towards.

This is a good album for a band as deep into their career as Elbow, but it’s also worthwhile even without that qualifier. The band aren’t getting any younger, but they are getting wiser and, dare I say, more fun.

This delusional “growing up is bad” aspect of Bangerz is part of what makes it good, because it means that Miley can pull off things that shouldn’t work.

This thing is quiet. It’s cozy. It’s simple. It’s, to be blunt, a vibe. Horrible Occurrences is a warm blanket during this time of year where the days can stretch on forever and the nights can swallow me whole.

In the end, Don’t Get Lost is very enjoyable, yet the main downside is its length.

His performance on The Off-Season will have hip-hop oldheads smiling, nodding, reminiscing on days of old. ... The lack of any poignant through-line either sonically or thematically will have bespectacled journalists shaking their heads and talking about how Kendrick does it better.