A solid effort that has pure intentions, but just doesn't quite hold the attention in the way some of Diarrhea Planet's peers do. Turn To Gold will find a solid niche of fans, and likely just get a head nod of meager approval from everyone else.

Cuco might not convert naysayers this year, but he clearly isn't overly concerned. He's delivered an easygoing, often charming set of songs, and that's a mission statement fulfilled.

Nine of the album’s ten tracks work perfectly well on their own (the dreary ‘Golden Remedy’ is instantly forgettable and turgid), yet as a collection there is something missing. Many of the songs are mid-paced, lacking the verve and energy which Swervedriver are more than capable of conjuring up. It’s a tough album to get through in one sitting due to the crushing melancholy, but there is still much here to be applauded.

Production wise, it's got the whole package, but behind all the endearing words pouring out of Milo's mouth, there's a lack of emotional connection.

Mechanics of Dominion is too heady for its own good, but still holds ground as a wonderful combination of influences and post-genre style. It takes time for it to reveal itself, and it’s usually worth the investment.

The casual listener is sure to find comfort in the background nature of the music at play here, and a voice this talented couldn't help but deliver an above average pop record even on autopilot. That being said, there is a wish that he'd understand the very best pop statements don't shy away from a clear personality.

For those fans of the Sea and Cake who are intrigued to hear their main songwriter develop some different ideas, this album is worth investigating. On the other hand, if you've never heard of Sam Prekop before, yet you are keen to hear some edgy and creative music made with modular synths, then this is definitely worth a listen.

At times, you catch a glimpse of a singer on the verge of something great, who is only able to suggest it due to limited time, space, or an aesthetic misalignment.

He doesn’t need to hop on the emo rap bandwagon and a more stoic presence is always welcome, but this feels like the first YG album that’s coasting on reputation rather than inspiration.

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.

Ventura feels more like a collection of songs than a fleshed-out album, but the runtime is much slimmer than Oxnard and its highs are quite a bit higher.

Overall, the first half of Outer Peace sparkles, but there is a disappointing limpness to the second part which suggests that the ideas ran out and two EPs of excellent material could have been produced instead of one album’s worth of work.

More memorable would be a complete artistic statement that’s further informed by each track. Instead, each song revels in a singular level of creativity and scattershot collaboration, driving us further away from a central theme.

She's played it safe, probably on her label's whim, when really, perilous rule-breakers would have been better suited to her lyrical style.

This is a more palatable and approachable record (even if Maguire sounds like he’s being beaten to death on ‘The Soft Hands of Stephen Miller’). But what’s missing is a lot of risk, something that each Pile record has revelled in.

Hundreds of Days is as charming as a novel unravelling a story, but it’s all over in what feels like the blink of an eye.

As If Apart will still add a few gems to your chilled out summer evening playlist, but it certainly leaves a little to be desired in regards to the evolution Cohen was clearly striving toward.

Felt is a surprising addition to their canon of work, which 2016’s Hold/Still deftly hinted they were capable of. While it may not be what long time Suuns fans are after, it’s sure to gain them some new listeners, who shall no longer feel alienated by their intense grooves.

The Greatest Gift is an appropriate accompaniment to Carrie and Lowell. A simple compilation of oddball tracks, it delivers enough to stand for itself--but is ultimately only really for the enjoyment of Stevens’ long-time fans.

Enjoyable as Drift often is, The Men are honouring their influences but not going the extra mile some of their contemporaries do to make these songs stunners.

There are a select few tracks on Lucid Dreaming that you'll be delighted to include on a party playlist, but this isn't an album that you'll be playing on loop.

The missteps are few enough they do little to tarnish what the band set out to accomplish, and the stronger songs here prove Exploded View is becoming more thrilling, ambitious and confident with each release.

Though it’s DIIV’s most consistent record so far, a step in the right direction and a more radical a gear shift than either of those releases, the tracks on Deceiver offer only wide differences in quality and little variation in style.

It's a toxic game they play throughout the 30-minute project, without ever garnering the introspection they need until things are too late.

Native Invader is a step back from Unrepentant Geraldines, but still boasts enough quality to suggest that she has another stellar album in her.

The result is a measured, wonderfully arranged, but emotionally singular album, tackling very personal feelings of doubt, pain and insecurity in a way that's easy to feel, but difficult to truly connect with.

Overall, the EP is decent, its production hearkening back to Abel’s pre-pop efforts. It brings in a range of genres and collaborators into The Weeknd’s canon but fails to truly cover new ground in the lyrics and vocal threads. My Dear Melancholy is a promising output but here’s hoping these stylistic ideas can be explored more originally on a full-length EP.

No major leaps have been made and no showstoppers have been added. An effort to buck convention make have actually just made the project slide a few steps backwards.