It's not necessarily a masterpiece nor was it ever meant to be a grand statement that'd capture everyone's attention; a low-key unveiling is more fitting, for it's the Collective's return to form, except in a way that nobody expected.

Adventures is a record that is just as quirky as it is brilliant.

Overall, Ritual is too much of the same.

These are the blunders we have come to expect from Wayne, but we expect to be compensated for our time with some classic tracks, and on Carter IV, there are none.

It's too empty, too boring, too lifeless, too lazy.

This album just seems too comfortable.

Back on My B.S. disappoints regardless, making it a point of no contest that the Busta Rhymes of old is gone forever.

With cliches becoming scarcer, there is clearly lyrical growth evident, yet one could hardly call them ground-breaking or especially relatable.

To be honest, Super Critical is simply a cute record that shows they are back on track after a few years of less successful experiments.

The album is a frustrating, calculated mishmash of pop powerhouses, balladry and dance music, but are either underdeveloped, overdeveloped, or just plain bad.

It is more of the same: overproduced, generic disney channel beats by names no one knows, derivative choruses and melodies that obviously sound manufactured by a tie-wielding Atlantic executive, and lyricism that fails at even being anthemic for parties.

This is verse-chorus-verse as pleasantly intuitive as it comes, thematically light yet with enough room for the musicians to show their considerable skill.

The truly interesting thing about this is that, for such a spacey album, it’s among the shallowest things I’ve ever heard.

Even at 45 minutes, Education, Education, Education & War feels too long, because the Chiefs are 100% committed to impose their sarcastic views till the last second.

The band sounds like they're simply trying too hard to keep up with their more contemporaries, and it shows; the song writing is poorly executed, the syrupy hooks are, for the most part, dull and unimaginative, and the band fails to cover any ground it already hasn't before.

For better or worse, there’s nothing new or surprising about Disturbed’s eighth release. On Divisive, the band don’t step outside their comfort zone, they don’t add any new elements, they don’t push the envelope on their established formula, they’re just Disturbed – but they’re Disturbed from their classic era, which is better than nothing.

It’s a series of surprisingly coherent and original steps forward, followed by a series of steps both backwards and sideways. I’d venture to say that’s better than continuing to rummage around the status quo at least, even if the cumulative results are still decidedly average.

There are almost no redeeming qualities to be found here, and the whole thing is shamelessly derivative, thoroughly lacking in any sort of creativity, and (worst of all) a logical point in Skrillex’s career arc, one which has been pointing downhill ever since 2010. Listen at your own risk.

Its a richly textured, layered, and almost earnest stab at everything this artist ever attempted to do before, all rolled up nice on one album.

Album Title Goes Here is simply, and honestly, a pointless release, a record designed for two very different crowds, yet lacking the ammunition to even moderately please anyone.

The result is an unfortunately hollow album, recycled in its sound and empty in its emotion.

Any piece that can cover an emotional spectrum ranging from gruff cries all the way to handclaps must have a lot to offer. ... Step aside Nickelback, there’s a new sheriff in town and his name is Imagine Dragons.

Go Now and Live is by no means a bad album, since it is a solidly composed, straight-ahead rock release with some satisfyingly driving rhythms. The experience may even assist the growth of this talented band, rather than hamper it. Too often though, the songwriting feels incomplete.

Another drug-induced and psychotic chapter in the kaleidoscopic and perplexing saga that is the life and times of one Quentin Dupieux.

I suppose you could say that’s what wrong with Relapse, it is almost completely non-sequitor, with no real lyrical substance until the last half of the album....Relapse sucks.

One where the sum of its parts are greater than the whole. Only including ten tracks, This Modern Glitch is as inconsistent as ever, and could actually be hindered by having less bullets to spray around the target.

Taking into account that half of Leave This Town was never intended for headphone listening, and is better heard blasting on a car stereo or a jukebox, it can seem somewhat picky to criticise the album for being poorly-written or for sounding like compressed dog poo.

"Unbroken" is her best effort yet. Ignoring the first 4 songs, it's a great album, filled with songs that have meaning.