The dark and sexy new songs shine their brightest when coated with a layer of her previous sparkle; which makes the artist’s second album a fine but frustrating release.

For the most part, ‘Dark Lane Demo Tapes’ is business as usual for Drake, who plays it safe and falls back on familiar terrain. ... But it’s not just a case of recycling here. There are some proper duds too.

It shimmers with wonky ’90s-indebted pop smarts, a daisy-chain of balmy nostalgia with blissed-out guitars, hushed vocals and kaleidoscopic lyrics.

While this fifth album, marrying incisive political commentary with intense introspection, epitomises Ghostpoet, it doesn’t add any new colours to his palette. He doesn’t sound like he’s even trying to push himself.

There’s no doubting the musicianship on display across ‘What Kinda Music’. Misch and Dayes certainly complement one another. But it’s hard not to long for a little disruption to the album’s soothing sonic cohesion. While they were clearly having fun, it was probably more fun to make than it is to hear.

Missteps are few. Instead of taking a battle-axe to what came before, ‘WOMB’ refines Purity Ring even further. The subtle experiments pay off – even if you may sometimes wish they’d surprise you more.

A handful of great songs might not be quite enough to sustain a new listener, or placate an older one. ‘Gigaton’’s saving grace? There’s plenty of malcontent here, even if Vedder leaping from amps might be a thing of youthful memory.

‘A Written Testimony’ is a 39-minute, 10-track project that offers all the usual Jay Electronica tropes: complex rhyming patterns, double and triple entendre, lyrics across various languages laid over psychedelic production with minimal drums. Electronica excels on a technical level throughout. Yet, while this is the most anyone has heard from him musically in over a decade, there’s a sense of reticence throughout the LP.

Few giant leaps nail the perfect landing, and Morrissey’s two-footer into full-blown electronica stumbles occasionally. But there’s also plenty of reason to hold your political nose and cross the Twittermob line.

‘Heartbreak Weather’ pads its way through every different phase of relationship-based grief, inevitably letting some moments of catharsis feel more impactful than others. It isn’t an entirely lost cause, but one to build upon for a more inspiring future all the same.

There are moments of brilliance on both records. ... Thematically, ‘Everything Sucks’ and ‘Everything is Beautiful’ fail to deliver anything new.

There are moments of brilliance on both records. ... Thematically, ‘Everything Sucks’ and ‘Everything is Beautiful’ fail to deliver anything new.

In some ways ‘Traditional Tools’ is a welcome return to form, but the album isn’t nearly as innovative or as introspective as it makes itself out to be.

Spans a whopping 21 tracks – a length even the world’s greatest artists would struggle to fill without sneaking some sub-par songs in. Which means that lo-fi ballad ‘Julia’ is a little cloying, while the acoustic finger-picking of ‘For Now’ and jazzy guitar strums of ‘Sweatpants’ don’t quite live up to the high standard set elsewhere on the record.

Cornershop’s cult is one you’ve either already signed over your seventh-born to or will watch pass you by with a fascinated bemusement.

Despite being a record of two halves, ‘My Turn’ is an enjoyable collection of tracks for his loyal fans. He would do well, though, to stay away from the whiny sounds and rap with a little bit more clarity.

Had the stronger songs been contained to an EP it could well have rivalled the extraordinary consistency and thrill of its predecessor – but frustratingly, it falls short.

‘Meet The Woo 2’ does feature some slightly lacklustre – take the disappointing ‘Foreigner’, featuring fellow New York rapper A Boogie Wit Da Hoodie. A Boogie’s sloppy delivery might have been scraped entirely from the mixtape. Yet Pop Smoke’s latest is one for the mosh-pitting party goers. He definitely proves that – in his own words – “you can’t say pop and forget the smoke”.

‘Always Tomorrow’ boasts a handful of punchy, promising songs but it’s frustratingly unambitious in scope. When the album treads old ground, the ideas are stale. Hopefully a bigger rejuvenation is on the horizon.

‘Changes’ is a knackering listen. Overly reliant on trendy production and profound(ish) romantic proclamations, it’s a disappointing comeback from an artist who has a track record in creating hits.

For the most part, the album is sickly sweet and filled with cliché lyrics. ‘Treat Myself’ is a frustrating listen, especially given Trainor’s track record for writing ear-worm pop songs.

This is some of the most focused, ferocious rapping that Lil Wayne has achieved in ages. Yet this still doesn’t necessarily result in a great album.

The rootsier material is often fantastic, which shows up the goofier stuff even more. Kesha has balanced tender country songs with blinging pop throughout her career, but you may wish for ‘High Road’ to stick to one lane.

Musically ‘Walls’ is a largely conservative album; it’s primarily guitar-led and rarely experiments. ... The album is padded out with a string of forgettable – though not unenjoyable – acoustic whimsies. ... There are the foundations here for a rewarding future.

The effort in attempting to redefine their sound and head back to the ’80s is clear, but it’s sorely undermined by a lack of originality and ideas.

He splits the difference on ‘Music To Be Murdered By’, indulging his immature ego (griping at bad reviews, stirring controversy for the sake of it) even as he offers salient social criticism and admits his missteps. He’s ready to pass on hard-earned wisdom before running his mouth like he hasn’t learned his own lessons. And he offers casual fans a hook or two before embarking on another lyrical work-out.

Despite a handful of lacklustre moments on the album, ‘Everything Else Has Gone Wrong’ permeates the band’s trademark sound with fresh ideas.

It doesn’t sound like the work of a band who might inspire legions of fans (among them, apparently, Kristen Stewart) to get tattooed with their logo, but these world-weary yet radio-friendly ballads imply the band might achieve longevity after all. Three chords and the truth never gets old, and ‘Marigold’ vividly paints the knottiness of adulthood.