At its best, it’s vintage Quasi.... But at its worst, you find yourself checking the tracklist to see just how much more of the record is left.

Blue Rev is a slightly disappointing return from such a brilliant indie band.

These are songs with the glossiest pop sheen steamrolled over them, erasing any wrinkles or mishaps – the exact thing that made her so endearing to begin with.

It’s an album that doesn’t demand attention but rewards those willing to sit with it, probably best described as an understated success. It would seem the more things change, the more they stay the same.

Her latest offering, however, lacks the key component that made the bizarre spectacles that accompanied her other albums slightly less irritating--consistently good pop songs.

Her spontaneous naivete and heartfelt vocals, while inticing, somehow get lost in these glossy, large scale and commercial productions.

Its best moments are closer to pop-punk and synth-pop than anything resembling traditional hip-hop.

Singles "Human" and "Skin" are due their high praise, but there seems little soul to the rest of proceedings.

[Cigarettes After Sex] continue to refine their vision with more clarity, bigger baselines, and a continued promise to envelop you in their hazy, romantic pop noir. It’s that kind of consistency that fans have come to expect; still, one can’t help but wonder how many more releases Cigarettes After Sex will sustain this sound before they risk consistency for experimentation within their artistic boundaries.

While no wheels have been reinvented, The Show is far from a bad record. If you’ve spent any time trying to imagine what a new Niall album would sound like, you’re probably pretty close.

2017 has had better pop records surely, but hearing Halsey grow as an artist is a uniquely rewarding experience that makes the album’s faults more forgivable and its successes more thrilling.

It doesn’t necessarily stay in your head all day but when the drawling rhymes cut in there is attitude and thought provocation in buckets.

Pop-radio metamorphosis hasn’t been fully achieved, and there are plenty of moments where pure beauty shines through.

Draped in synths and bouncy, Top 40 bass lines, Offering turns out to be a lacklustre effort from a group once smothered in critical praise and year-end listings.

It's a soothing, uplifting listen, perfect for those moments when you need a gentle, positive presence in the background. But for those seeking something more, something that challenges the boundaries of what Tycho can do, this album may leave you wanting.

It’s an album that feels made for technical appreciation, rather than necessarily engaging the listener.

On their new album, they maintain this dive into pop, but with songs that are nothing like as captivating as their back catalogue.

Short and sweet at nine songs, a few struggle to stand alone.

Overall, although there is quite a bit of filler on Rabbit Rabbit, the album does contain some enjoyable songs, with Dupuis and Molholt demonstrating their obvious talents for solid guitar riffs at several points.

While there are undoubtedly highlights on Sympathy For Life, it seems like fans will have to keep waiting to see the band fully commit to their dancefloor ambitions.

In spite of its shortcomings, High Hopes will tide fans over until the next bona fide LP.

Had it been released by a lesser pair, this album would doubtless by hailed as full or potential, the first LP from a vital new force in alternative hip-hop; however, as it has been released by these two, it falls jarringly flat when one considers what they’re capable of.

This is a lovely record, prettily arranged and carried off with assurance, but it’s ultimately very difficult to escape the feeling that the real aim here was to deliver something of slow-cooked profundity.

Cerulean, while technically masterful, is just a fine, pleasant dream to pass the time.

It’s half magical, lush, and wholesome, and half redundant. Sometimes it’s easy to get caught up in repetitive cycles, not knowing when to quit. That moment has finally arrived for Titus Andronicus.

The record is at its best when we’re having fun with Ice, which seemed to be her initial ethos. But much of the record is unfortunately underbaked.

For those that grew up with the band that they would even release a second post reunion record is probably enough. For those that have joined the party late however, it does nothing we haven’t heard before. And unfortunately, those moments where the album soars instead of stalls, come too infrequently to leave any lasting impression.

GRIP is stylish and moving, yet lacks a sense of provocation.