Three out of the four songs are at least enjoyable.

Bleachers would have felt more complete if their signature goofiness prominent in the upbeat production had seeped into more tracks. Despite some occasionally affecting lines, songwriting isn’t their forte; instrumentation is.

It does feel harsh to pick holes in a record that’s already so visibly bruised by criticism; where credit’s due, the home stretch is much, much stronger.

It’s so unrestrained that it sometimes loses its grip, condensing several albums worth of ideas into a single project that isn’t quite as compelling as the sum of its parts, the sum of its collaborators, or the sum of its energy.

Thirstier seems to spin out of control in the name of artistic development. The daring dip into electronic garners mixed results.

Though its exploration sometimes lacks cohesion, it succeeds in pushing the group’s sound to levels of experimentation.

It’s a solid start from this supergroup, but the tug of old strings still dominates proceedings a little too much to mark this out as anything wholly unique in itself. But for some, that’ll be just fine.

Trip at Knight is likely the closest Redd has come to snapping into the desolate, depraved world he’s so eager to create. When the ashes settle, there’s the sense that he still has some miles to go, but there’s no taking this moment away from him.

Were Twain willing to engage with additional genres, it’s quite possible Queen of Me would hold up as a more engrossing listen. Instead, what we’re given is the audio equivalent of speed dating. The songs hint at Twain’s vivacious personality, but never quite let us in.

The real flaw, if there is one, is that they might have strayed a little too far from their roots. The uninitiated, though, will see this as an intriguing electro-pop record, first and foremost.

A Bit of Previous fails to standout. Whilst carrying the same overall feel of If You’re Feeling Sinister and The Boy With the Arab Strap, it lacks the depth and storytelling brilliance that originally made this band so exciting.

Like the tracks themselves, the album as a whole contains a breadth in the way of sounds and styles, but less so in depth. Confused and trying on more hats than a grandfather at a beachfront souvenir shop, Cautious Clay flickers with interest and leaves without a second thought.

Like other Matmos albums, it relies too heavily on the concept behind the album for merit. Plastic Anniversary is an impressive experiment with intriguing results; it's not, however, an album you'll likely find yourself revisiting time and time again.

The moments of intrigue are too fleeting and the encompassing ‘feel’ of the LP lingers too long in flat territories, which is a shame, as there’s potential for her solo work to be spectacular indeed.

This album doesn’t pack enough punches to provoke or demand a rebuttal, and given the length of VietNam’s hibernation after their debut, they may head straight back there if there’s no impetus to keep them in the spotlight.

What Do We Do Now has some interesting moments on its first side, but quite a bit of it does feel leaden and lacking in energy.

Coherent though it is, songs have a habit of blending into one another, and all too often end up sounding like that noise when you’re constantly on hold.

Some of Creeper's tricks may have become repetitive and predictable, but whichever direction they take after the SD&IV cycle, they probably can't go wrong as long as there are plenty of Greenwood's vocal contributions. The interludes create smooth transitions, guitar crescendos build a gorgeous cinematic effect, especially on the EP's centerpiece "America At Night" and the anthemic "One Of Us", which sounds a bit like Green Day.

They’re all interesting concepts and ideas that work, but together they create a disjointed and bizarre listen.

The messaging does feel appreciative yet it feels too familiar between its use of commonplace metaphors and lack of clear thematic thread.

If you're a fan of Frusciante's work in the California funk outfit, then there's not much here you'll enjoy, but if you are into electronic, drum and bass then you'll be right at home.

Punk will likely not be remembered as a great Young Thug album, but we should appreciate that we get to hear him tinker with his sound for when he finally puts it all together again.

Chaosmosis has its moments, but it sure is patchy.

There's still an amicable charm to Take The Sadness Out Of Saturday Night but, overfilled with internal questioning and no reprieve of an answer, the sadness fails to truly lift.

While they’ve certainly sharpened some of the edges since Little Moments and brought their newfound gloom-and-synth-addled style to a more formidable shape, Only Run still suffers a significant lack of the sheer vibrancy and enthusiasm that made their off-kilter beginnings so invigorating.

It’s not quite as appealing generally speaking, but does feature music for those moments when a soundtrack to a subtle atmosphere is needed-- whether on screen or in imaginations--with hints of more life slipping in between.

Blitzen Trapper are unabashed traditionalists, and they’re not shy about letting you know it.

The execution isn’t quite perfect - at times, you can feel the record trying, as if it’s labouring under its own weight. But the band, and particularly Ross, deliver it with such honesty that that much can be forgiven.