As convincing as she attempts to sound, Bionic does nothing to persuade authenticity.

A recipe for disaster which tries to please everybody and ends up being enjoyed by nobody.

This album displays the band at an absolute low-point in their career.

There's nothing particularly grating about their gentle, country-pop stylings—most of which deal with themes such as nature, gratitude, and fleeting time. And these are all worthy topics to explore—except that every song sounds so gosh darn wholesome that it's as if they discourage against any deeper introspection.

The vocals are obscured, but nothing else really meshes.

On Make-Believe, a sloppy more-of-the-same same approach has crippled what this album could have been, ultimately leaving us with some vaguely interesting notions rather than well-explored concepts.

The album is not an abject failure however, as there are bits, just tiny bits, of it that give off the faintest wisps of something more.

Love Remains has no established coherence, disrespects the meaning of creating a full length from scratch by (reworking?) rehashing material, and frankly, relies too much on Krell's scorching falsettos.

Anyone expecting some sort of lost treasure in this collection will be let down.

While Ainsworth is getting closer to making an impact with her sultry romanticism, she also hasn’t refused to give up that producers’ mentality that stifles her more spontaneous urges.

In the love affair of listeners to this EP, an overly ambitious singer-songwriter who seems to be far more into growing artistically then creating genuine songs will force fans and detractors alike into the arms of another.

One of the most frustrating releases of recent times. Tracks meander insipidly, crushed by the weight of a solipsistic “message” and the real moments of quality only serve as a reminder of what might have been.

There are some appealing songs here that deserves to be on a Spotify playlist or in a chill lounge environment. However, they struggle to stand out next to subpar material over the course of a full-length record. There are lots of alluring instrumental pieces that show potential, but Kllo treats them as decorative rather than core aspects.

Craft is an artist who values songcraft intensely, structuring his stanzas carefully but with an exuberant self-assuredness. The result of his work in the case of Full Circle Nightmare is a precession of songs that wear out their welcome in a brisk fashion.

There may be some great ideas on here amongst the mis-steps, but without any suspense, it is difficult to tell.

This album may have been a growing pain in their attempt to evolve past their initial signature baroque pop, but it sounds like they missed a few steps that needed to be taken.

The album quickly loses itself into a tasteless, gimmicky wormhole of hideous sounds that grate the ears. Superorganism are onto something here, but as it stands, their erratically-paced scheme is a passable novelty.

So much of Iz just blends together into a balmy, gelatinous goop of trap-flavored maquettes that could’ve come from anyone, let alone Big K.R.I.T., someone who I have always looked towards for quality bangers.

It's a mediocre album, and I'm only being hard on you because I sincerely wanted more. Like a pissy parent, I'm not mad at you... I'm disappointed.

Through headphones, Ssss lacks proper punctum. Through speakers, it fails to infect.

There's much promise for an act like Gauntlet Hair to floor its contemporaries with time, but as it stands, their grimy, sewage system is in dire need of maintenance.

Plumb feels unsure of how ambitious it wants to be, but instead of landing in the middle of the road, the lack of focus and uncertainty create an incoherent mess.

Instead of the dynamic sound Mayer is capable of, he has instead continued along the same nicely-paved road he has ridden his whole studio career, a path that has always elicited the same reaction from this writer – a shrug.

With Cry, the instrumentation has turned into self-parody, the production is a painful slog, and the worst lyrics are impossible to ignore.

What we have here is an album’s worth of incredibly passive, indifferent music-making.

What's also noticeable is how unnecessarily restrained most of the album is.

Shadow's production is wantonly flashy, but it can't mask his lack of flair.

This retro carnival is a trip, but it’s also a downright mess riddled with poor songwriting choices that are disguised as clever.