Their newer, glossier pop sheen pedestals them as the makers of proficiently written and intently catchy tunes that are inoffensive and innocuous - and never adventurous enough not to be.

It pains me to overly criticise an album that may be quite enjoyable if you were born in the '70s and have only ever looked forward for your music, but there's no avoiding this particular White Fence could have done with a second coat to better hide what's beneath.

There's no doubting their technical ability, but it counts for little this time around; the hooks that seemed to be the cornerstone of their songwriting last time out are missing in action on this occasion.

It's not a terrible record, but given the weight of expectation and the creativity we've seen from them before, this just feels like a step backwards.

Often the vocal melodies religiously, and simplistically, follow the melody of the lead instrument, leading to a lack of interesting melodic counterpoint and contrast, and, in almost all cases, they’re the kind of Sesame Street sing-songy melodies that no one over the age of five would unironically enjoy.

It feels Mac also went through these motions creating Here Comes The Cowboy, something is lacking, and it feels like it was motivation. That being said, with this record Mac has taken some creative risks.

Unfortunately, the album ends up being a whole that is less than the sum of its parts, making no real impact on the listener as it quietly meanders along.

Relaxer highlights the best and the absolute worst of Alt-J. That’s what makes it such a frustrating, and yet fascinating, listen.

One or two additional flashes of brilliance fail to act as saving graces, however, leaving Await Barbarians a disappointing effort from one of modern pop's mavericks.

File under: Works better if you think of it as a remix album.

To its credit, it's very listenable and the band were having fun while recording it. However, the potential in lieu of this makes it that much sadder that Gardens & Villa didn't take more time to polish the sounds of last year's Dunes.

Woman is by no means a bad listen, it just isn’t a very original one either.

Between horns, strings, synths, guitars and all the rest this record is definitely an attack on the senses and shows Urie's knack for constructing a radio-friendly hit, but delve below the surface and it doesn't have much to offer. Certainly not enough to justify diminishing returns for a long running act, definitely not enough to keep me coming back for anything but the first few beats.

Nothing much sticks out, other than a campy nostalgia for an age when indie pop was still novel and there was a thick dividing line between this kind of guitar rock and the mainstream.

NASIR is the weakest of the recent Kanye output, though perhaps more consistent than ye it fails to put a dent in the current hip hop conversation, feeling especially limp in comparison to the sudden arrival of a one-time nemesis and his wife.

[FIDLAR] could potentially translate many of these songs into excellent bangers during concerts. But for now, Too is an irritating and frustrating disappointment.

Gleams and glances of Albarn’s potential are almost omnipresent, yet never really come into fruition.

The poor lyrics and minimal change in style makes almost all of Luck's tracks sound like slightly more polished B-Sides to his debut of 11 years previous.

Unfortunately, Morby's latest effort seems to purposefully aim for the very middlest of the road.

It is the lack of cohesion between music and voice that remains the most prominent feature of the album and its biggest stumbling point; leaving May a disappointing effort from an artist that we know can do better.

Sir occasionally works as an aggregate of flattering bric-a-brac and is irrepressibly sexy, but when its production’s skin-deep charm peels away there’s little to compel a return.

The production makes everything sound suitably epic and heart-strained, but tends to overwhelm its strongest suit--Gracie’s voice.

Whilst Hard Believer has its moments, this sense of playing it safe permeates throughout the record.

You don't get the sense of elation one might receive for being paid to pose for an art class because to listen to Dawn Golden's debut of course, you pay them for the privilege.

The album features far too many flabby hip-hop/pop and pop songs.

Even given the mixed results it's good to have them back. Listen without expecting the impossible and you'll find ample to enjoy.

Her weary disposition begs for songs that are stripped down and reduced to their component parts--songs that don't fuss around. That's the problem--the fussing, the instinct to add more. It sounds like she's reaching for something, but she doesn't know what it is or where to find it.

Diamonds and company hold on to flimsy synth arpeggios and pop contrivances like a child would an old toy.