All too often, though, Peace Trail sounds like another case of Young chucking half-formed ideas at the wall to see if anything might stick before moving on to yet another project. That said, there are genuinely powerful moments here that promise of better things to come.

Equally far from disappointment or ascendency, it tacks about its ashen existence, perfectly fine and perfectly listenable and perfectly suffering for it.

The Home Recordings largely serve as a further step back along the creative path, to a point where we either see songs at their most infantile stage or at a crossroads where Cobain, the tireless perfectionist, probably realised he could take them no further.

Sacred Hearts Club is record of frustration on the listener’s part--we know they’re capable, but Foster the People have again failed to recapture the brand of youthfulness established in their hype-fuelled industry breakthrough. Equally, they fail to mature into an alternative sound with adequate craft to entice attention.

There’s no rap entitlement on display, and even brand-dropping doesn’t feel disingenuous or superficial, somehow--and, furthermore, she’s a grounded everyman rap icon. It’s endearing to no end.

Bouquet is fine as a first country album – there’s a relaxed sheen over the whole thing, and she sounds great as ever – it’s just disappointing for what we know Stefani to be capable of.

They've crafted a debut album together that proves both emotive and enchanting.

There are a lot of underwhelming moments that come in tracks that don’t quite find the perfect marriage between conflicting styles. But Red Earth and Pouring Fire is an admirably ambitious album and presents Bear’s Den as a far more diverse, capable band that many would have previously thought.

Ultimately, their third record doesn't show MSTRKRFT to be master craftsmen.

The album is delivered as a mishmash of ideas that misfire from the get-go, missing out on the potential it built in the lead-up to its release.

Though Mount Ninji and Da Nice Time Kid is a far from perfect record, it proves that Die Antwoord have still got life in them yet, despite the recent hyperbole.

There is nothing special about this--dualities of form and content are as old as art itself.

This is a stepping stone towards a new direction, and although it’s stunning in places, it’s not a triumphant renaissance.

The band’s audible aspiration towards greatness on this album is the most welcome aspect about it. You can hear the effort that was put into making it as galactic and sprawling as it is.

Expecting Moroder to reach the heights of "I Feel Love" is, of course, futile, and yes, after a few repeated plays you may find the odd track or two that stand out from the rest, but there’s little you’ll love to love here.

These tracks aren't revolutionary classics on the same level as “Killing in the Name” or “Fight the Power” just yet, but nevertheless, they raise a fist to all those who continue to fight ignorance, hypocrisy, brutality and the elite.

With the good comes the average and with it the great.

They’ve used the time to come to terms with the loss of Cintra and create a sonic identity beyond his input, and it turns out that they didn’t really need him, and, just maybe, he was stalling their progress.

While the album is pleasant enough listening, and certainly doesn’t make you want to block up your ears, it is just too plastic-sounding to yield any lasting substance.

People will say it's better than its predecessor, but at least that album had the good sense to be as gross as it was unlistenable. JESUS IS KING isn’t even as hilariously shit or infuriatingly offensive as Ye – it's one great tune and a bunch of other ideas, and it isn’t entertaining in the slightest.

While it's certainly missing any form of coherency, Witness does feel like you're growing with Perry - going on this journey that's helped her find new ground and a reinvigorated appreciation for all walks of the pop music spectrum.

Unlike the majority of [posthumous releases], Faith speaks to Pop Smoke’s perpetuity in hip-hop’s current context, serving as less of a lament of what could have been and more as a memorial for what was and still is.

Some tracks feel like throwaways, then there’s the TikTok and radio cuts like “IDGAF” with Yeat and ear-shattering production from BYNX (who has been killing it btw) and “Rich Baby Daddy” that aren’t particularly rap-savvy but benefit from extremely catchy tracks with a large number of producers.

Their latest album Battle Lines is a potent reminder of the power of the combination of hard rhythm, electronic experimentation, and hard-hitting lyrics.

The record is certainly sparkly, but its hollowness is glaring. SALVATION is so desperate for someone to call it iconic that it neglects what makes an icon anyway – personality.

Richard Ashcroft’s fifth solo effort ultimately feels like an unruly mess--there are lots of ideas here, but none that feel truly developed.

If nothing else, Messier Objects is a proper reminder of the beneath-the-surface merits of The Notwist's compositional talents.

Donda 2 is a complex of lacklustre ambling beats twinned with sluggish energy, only occasionally piquing (“We Did It”, “Too Easy”, "Pablo"). In fact, rarely does Ye find any stride. [review is for V2.22.22 Miami version]