This album works best when those ideas are allowed to flourish and persist. When the arrangements get too embellished and full, they veer too far away from what makes Carpenter’s economical gestures so enduring, relying too heavily on virtuosity for comfort.

Hold/Still conjures up the existential mood of floating in deep space. Lonely--but also out of this world.

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

There are sludgy, down-tuned power chords, there are whiny lyrics about how life is constantly unfair (reminder: Korn frontman Jonathan Davis is 45 years old), there is even that vocal tic where Davis sort of cackles like a disturbed demon.

A bold gesture weighed down with excess, 'The Voice Of The Heroes' is a worthy experiment, one that feels destined to be a cult favourite.

There’s barely a convincing lyric in the album and by the end you’re wondering whether the title itself has been chosen based on the sheer novelty.

Season High is a pleasant ride--a breezy escapade through dreamlands and ultraviolet meadows. It’s a sometimes sickly-sweet concoction that’ll leave you once or twice with the feeling of overindulgence.

At its best, Roaring 20s is clumsy and awkward. At its worst, it’s hectoring and condescending.

A mixed bag that's perhaps polluted with Toddla's inevitable fame and fortune.

With its sharply defined highs and curiously odd misses, there’s more than enough here for dedicated fans to sift through, to extrapolate new shades of Springsteen from. For the rest of us, though, there isn’t quite enough to hold our attention.

The grooves might be intelligently crafted, with plenty of interesting rhythmical quirks throughout, but the songs themselves hold little water.

It's nice to start off with but swiftly becoming a tad wet and ultimately a touch cloying.

Darlings is a concrete mixer full of ideas, although it’s tricky to pinpoint if Drew’s actually laid the foundations of a decent record.

In aping the sounds that made early rave great--hardcore, breaks and hard house--Vibert has sucked the soul from the genre leaving just a smattering of style. If this is an ode to rave, then it is a hollow one.

Tracing the lush synth lines running through this album shows Epworth’s love affair with the retro electronics of the 1980s. But their pairing with the sensibilities of modern pop ends up feeling less like the 80s, and more like last decade’s 80s nostalgia.

We’re submitting this one for further clinical studies.

It'd be unfair to tag Dreams Come True as merely a curio for Grizzly Bear fans. It's more than that--but only just.

It’s obviously understandable to attempt to capitalise upon the success of your best-known hit but on This Is Acting, Sia loses sight of what made her such an interesting artist in the first place.

It's alright and will shift units: boundaries will rest easy however.

Move Through The Dawn is an album sadly bereft of impact, from its lacklustre cover onwards.

Some may find something deep and spiritual amongst the cuts on Outside, but it just makes this reviewer want to stay indoors.

While at times lacking in lyrical insight, Fink’s ability to maintain an atmosphere, to build up gentle, soothing bubbles of sound, is largely unmatched.

Accomplished again, then, and greatly engrossing throughout. It’s just lacking that crucial aspect of singular appeal to stand aside from a fiercely competitive pack.

Cosmic Wind still manages to set a mood, languorous and lush, perfect on a capital’s rooftop, cocktail in hand, the last sunrays hitting perfectly. But you can all too easily imagine this slotting into some Spotify algorithm, a mood playlist titled “Summer Vibezz”.

The sugar is here, but teeth will get itchier.

They could do with a couple more uptempo nuggets like 'The Kids Were Wrong'.

YACHT have consciously positioned themselves as intelligent conceptualists, not wanting to adhere to what's expected of them, and that makes for an interesting amalgam of deep themes set to brazenly outlandish pop styles.

While the sheer breadth of Wait ‘Til Night can’t fail to impress, the album lacks certain cohesiveness. That said, there’s an honest creativity here that ripples through proceedings.