You’d hope that Lupe would trust himself enough to deliver the kind of music he’s capable of making. Instead, we get a terrible album--a new low in a career that already has too many down moments.

Tranquilizers is by no means a perfect record, but it is a record which shows that this is a band who have finally got the balance needed in their sound to create something arresting and fun.

“Haters gonna say it's fake,” Timberlake frankly asserts on, 'Filthy'. They needn't even bother. Genuine or not, it simply doesn't work.

What it lacks, though, is a sense of purpose, which is the precise thing this new version of Bloc Party needed it to have; they needed to make a convincing case as to why they still deserve your attention. Instead, they picked the worst possible time to lose their nerve, and turn in something so bereft of conviction and new ideas.

Moroder's attempts at creating a 21st century version of his prior success results in painfully artificial, sterile, boring music.

While Double or Nothing isn't entirely a miss, it certainly represents a downwards move for Metro Boomin. It makes sense that he'd seek bigger names to experiment with, but the choice of Big Sean was Hallmark safe.

Whilst Wilder Mind is not very good, it's really not as bad as you want it to be.

I really wish that Pixies still had their magic, but they don't, and it's a terrible shame for all of the parties concerned. For us as the listener, and for them as the band that are running on empty.

There is no insight into what brought him here, or how he feels in this place on a spiritual or even human level. Instead, it offers a shallow rush of, essentially, “WHOO GOD!” complete with an admittedly fantastic choir, but little else.

With The Black Album, Weezer once again sounds insufferably uncomfortable with the notion of aging by devising the musical equivalent of getting hair plugs. ... A compilation of tracks lacking in quality and spat out at the end of a conveyer belt.

For every lightning in a bottle moment of inspiration or fun, there are several misses. His sound might be lighthearted, but it can at least be memorable. (Don’t try to act like ‘Broccoli’ would’ve been as big as it was without Yachty’s help.) He has nothing to prove but not much to show either.

Revival is so uninspired and lost that picking it apart is a hopeless affair.

Ultimately though, Messier Objects feels like a collector's curio.

Memories Don't Die (stylized in all caps) feels like everything his debut should have been. Slicing off the fat of a self-important back story, Lanez lets the music speak for itself. When he does chat, it feels pointed.

On the basis of Pump’s youth and energy, it’s a mostly enjoyable listen, but those are traits not at all unique to him, and it’s hard to feel optimistic about how much longevity he has. After all, he’s not getting any younger.

Dummy Boy would be better if it was worse. 6ix9ine doesn’t show any sign of knowing how to write a complete song, let alone curate a whole album. But he’s also too unimaginative to write anything so jaw-droppingly awful that it needs to be heard to be believed.