A record of fireworks, but few surprises. The songs kept succinct, punchy, and direct; there’s no house production about-turns, no moments of revelation, just sheer, unadulterated Khaled. It’s like being strapped in to a rollercoaster – at points its exhilarating, at others terrifying, and by the end you’re eager for it to be over.

An album that is often slight, and occasionally cartoonish. There’s a lingering feeling that not only can UK rap do a lot better, but so can Aitch.

While it does knock out some definite singalongs, sprinkling in some fun hooks and catchy structures, there is something missing beneath the veneer of theatricality. This is an album that hints at complexity, but it is inevitably overshadowed by Urie’s one-man-show.

A bold, contained statement nonetheless, doubling down on her niche style with a few twists and turns brings us some truly great moments to cherish.

The record is funky, it might sound good near some waves (the title is also a play on the .wav format for digital music files, which Harris is constantly sending to studios across the world), and the beats generally bounce happily along. It does what it says on the tin.

At times frustrating, ‘The Last Slimeto’ is never less than entertaining. A bracing, defiant gesture, it finds NBA YoungBoy embracing freedom with both hands.

There are a few points in the album where Lauv begins to take an interesting turn, only to retreat to familiarity.

While ‘PANORAMA’ at times feels repetitive, there’s certainly moments that smoulder with passion, sparkling with Kiyoko’s signature charm.

It’s just unfortunate that ‘ISTHISFORREAL?’ is less of a philosophical treatise and more a frustrated misrepresentation of Purdy’s abilities.

It’s not expressly about anything. This is music that performs confidence, that uses confidence as a genre rather than embodying it in any convincing sense.

While this might not be the most fun album to listen to, Neil Young and Crazy Horse deliver solid performances that elevate it from seven songs of despondency.

Haines’ singular vocals have always been the band’s not-so-secret weapon, and it’s here [on ‘Enemies Of The Ocean’] where they shine greatest, jumping from hauntingly beautiful to full-on rock goddess mode. However, much of the rest of the album just goes to highlight how it’s a game of two halves. You could literally compile a list of the numbers that are over five minutes as the standouts and ones under as pedestrian.

If they’d dared to be a little more vulnerable with their sonic approach, ‘World Below’ could’ve been an immense album. Nonetheless, Baby Strange are back in valiant style.

Neither one thing or another, the lack of definition on the project results in something quietly rebellious, but curiously unsatisfying.

Unfortunately, HAAi’s music here tends to be a bit stiffer, forgoing the benefits of a heady groove in favor of direct impact. If you’re up for it, it might well help you ascend, but it often feels like a forced way to go about it.

At times pretty, at others curiously appealing, ‘AIR’ is more-often-than-not simply boring, ca selection of mood music that fills up space without every truly saying anything.

While elements of ‘Every Shade of Blue’ may struggle to cut through its over-ambitious production value, the album is bound to translate well on the big stage regardless.

‘Come Home The Kids Miss You’ illustrates that he’s not quite there yet, but he’s certainly Justified.

It’s not a bad record – the highs more than justify your entrance – but with a rumoured follow up on the way, perhaps it’s time for Future to break a few of his own rules once more.

While undeniably sweet on a surface level, 'Cry Mfer' is a clear reaction against the self-seriousness that runs rampant throughout indie music, and while its conception proved challenging for My Idea, this debut is a clear sign that specific working relationships can bear remarkable fruit.

At best a fiery evocation of the electronic elements that team thrive on, ‘Paradise Again’ isn’t hell-on-Earth, but it doesn’t leave you enraptured.

This awareness of his public perception seems to dominate the album, even in the tracks that don’t outright address it. As a result, the overall mood is far less authentic.

There’s enough here to make even the most discerning New Rap playlist – but as a body of work it doesn’t land in the effortless fashion that made EARTHGANG such a pivotal pairing.

While a fun and energetic record, much of the songwriting falls into the somewhat forgettable. Everyone is bringing their A-game, and they're having a blast while doing so, but nothing entirely sticks to the ribs.

Ideas are left unexplored, while 2Chainz innate abilities – on his day, one of the best MCs around – is clouded by a willingness to pack the tracklisting with guests. If this truly is his last trap project, then perhaps a change is overdue.

There are moments where Dior shows his undoubted potential and those moments save this album from being completely mediocre, unfortunately, those moments don’t come anywhere near often enough.

The outer edges of this album are impressive, but why couldn’t they penetrate the main parts of these songs and this album more? Instead, they are eye-opening but ultimately useless ideas that must make way for the dry 808 beats we’re all too familiar with.

While casual listeners might find the overall listen a bit sparse, there’s no doubt it’s the perfect soundtrack to a Halloween party, or indeed a Halloween Movie™️.