Spread across 18 tracks, Meek Mill's creative contouring isn't fully consistent, leading to some awkward moments; 'Love Train' and 'Love Money' feel insubstantial, while the mid-section loses its punch.

There simply isn’t much to latch on to here, and certainly nothing to suggest that Still Corners aren’t completely out of ideas.

It’s a refreshing diversion from yer average psych-noise fare that’ll hopefully be explored further on future offerings.

Despite lending his rich, soulful vocals to an eclectic collection of tracks, including versions of songs originally by Coldplay and Wye Oak, the streamlined, country-tinged production waters the songs down.

Useful, thrown-back fun, comfortable off the cutting edge.

No, No, No is as sweet but as filling as an after dinner mint, and sadly it's probably dinner this album should accompany.

Longevity is often characterised by reinvention in music, yet The Ride stalls in its attempted inventiveness, instead finding success in its most pared down and familiar moments.

In ‘Love Goes’ Sam Smith has produced a flawed but decent return that mirrors the introspection of this strange, difficult year.

Ultimately, Graveyard Of Good Times is too much of a mixed bag to be considered a great record.

It hardly moves mountains as a standalone effort, but is moderately impactful and somewhat befitting of its lofty pandemic-era presentation.

Hemmed in by their own ambitions, ‘The Battle At Heaven’s Gate’ is an oddly contradictory experience, one that finds Greta Van Fleet truckin’ on up a one way street.

Nearly twenty years on from Suede's debut and he sounds pretty much unchanged.

Everyone loves to reminisce, and we're suckers for well-crafted songs, but we also need to be challenged a little more than this boys.

At its best, The Saga Continues captures some of the old Wu magic but unfortunately these moments are few and far between.

This album demonstrates that the desire disappeared long ago and that they were simply prolonging their career to delay the inevitable. For Hot Hot Heat, the fire has definitely gone out.

While songs 'Bondage Of Fate', 'If You Want It' and 'Sometimes' present a classic vibe, standalone track 'Pulse' is equally akin to the electronic sound of today. Nice touch.

There are enough hair-raising moments here to anchor your skin and stop it crawling quite so much.

Head Carrier is far from triumphant, it’s by no means a failure.

The punchy ‘Drink N Dance’ utilises ominous 80s synths, while ‘This Sunday’ is potent, and atmospheric. ‘Gracious’ is carefully finessed, more evidence of the duo’s world-building techniques. That said, though, there’s a huge amount here that simply passes you by. ‘Always Be My Fault’ is meandering, lacking structure, while songs like ‘Luv Bad Bitches’ and ‘Mile High Memories’ lack substance.

Distortland may not see them return to the genius pop level they had up until 2003's ‘Welcome To The Monkey House’. But it is much closer.

Yes, the production is razor sharp, the beats are skewed and often very loud which makes them feel important, but in reality, it's all a façade; an image.

Intimate moments, however, like the haunting, heartbroken folk of ‘Tightwire’ show how primal this fourth studio collection could have been.

CCCLX is fantastic as a momentary escape from the lights and sounds of the mad world we’re living in, but once you’ve holstered the pastel pink desert eagle and left the booth, you’re left with only a handful of killer moments that might entice you to return.

‘Run Me Dry’ plays a la mode with a loose dembow rhythm, but, as with the rest of the album, there are plenty of others out there who’ve not only done this already but done it more engagingly.

Begin may be more of a reverential piece of art than a novel creation, but there is enough substance here to surmise Lion Babe’s future promise.

Her history and significance is rooted in rebellion--but that’s easy to overlook with a record this diluted.

There is more maturity this time around, with an easier flow, such that the songs gel better as an amalgam. It's a shame then that the songs themselves lack the commercial edge to capture any sustained attention, giving the album too much anonymity.

At times her deliberate vocal style disconnects the listener, and one hopes as Green’s career progresses, she trades in the allegories for something a bit more emotionally inclusive.