For all its best intentions, Man of the Woods often feels rushed, occasionally underproduced and at times, unfinished. Lacking the effortless polish of previous releases, it troughs more than peaks and ends up floundering in its own ambition.

In short, on Hymns there’s something close to an excellent EP in amongst some of the very worst things ever to bear the Bloc Party name.

BDL Bipolar will give Narstie’s fanbase plenty to enjoy, and while the juxtaposition of staid instrumentals with subversive lyrics is jarring, he remains a gifted MC, worth hearing out.

Candy’s uncompromising approach has been a breath of fresh air when providing guest verses in the past, but a whole album of pornographic paeans will leave you feeling limp.

The Great Escape Artist is one-paced, bloodless, and frequently blighted by Dave Navarro's ersatz Edge-isms.

The whole exercise seems so carefully crafted and desperately needy that any joy found within The Weight Of Your Love wears off the more you play it.

It's not completely unfair to say that Déjà Vu won't be joining the pantheon of great albums any time soon.

Surprising and satisfying, we'll even try to forgive the spoken word interlude.

[An] offensively dull record.

With a 19-track span and a colossal guest cast, not everything on ‘BLOCKBUSTA’ lands. There’s a feeling sometimes that these collaborations were done separately and then spliced together, with some moments lacking cohesion, or a sense of chemistry. ‘HOMAGE’ with Kodak Black feels flat, for example, while the record’s eclecticism prevents ‘BLOCKBUSTA’ from truly coalescing. That said, there are moments of real bravery.

More Transworld Sport than Chariots Of Fire.

While there’s nothing particularly original or ground-breaking about this debut, CATB is a band that’s mastered the art of writing tunes that connect with an audience, and at a time when commercial rock is, apparently, at a particularly low ebb, that could serve them very well.

‘Everything I Thought It Was’ can sometimes be forgettable across its 18-track largesse, while thematically it feels bunched around a cluster of feelings.

It feels like a personal journey through the past on his part, and a genuine tribute from those who've contributed.

The brazen flows of Dagenham spitter, Devlin, shown on this outing don’t quite translate to the forced templates they lay on, meaning that the formula needs working.

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

The unerringly loyal will find enough here to sate a hunger for anthemic bobbins drenched in atmospheric production, but there’s little to match the handful of magical songs for which he is known.

44/876 is like a hilarious fever dream somehow brought to life. Not entirely awful.

Continual evolutions has pushed them away from their roots, feeling less like a band and more like a committee, marking out different strategies without truly owning one themselves.

It's not truly terrible, but it does feel akin to a musical version of King Kong Vs. Godzilla, two monsters decimating everything in their path until there's nothing left, except the back catalogues.

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.

Additions such as Kash Doll and Juicy J are perfect on paper, but beyond justifying their individual presence in the rap realm, do little to save a project which unfortunately suffers from the sophomore slump.

What's frustrating is that it's too damn enjoyable and not quite derivative enough to actively hate.

Too much of Neontwang feels slight, as if the band is still beset by identity issues, still confused by the prospect of what they could be. The transition, then, is still under way. When it works, Neontwang is a worthy return, the sound of a band taking risks in ways their detractors could never fathom.