It could have been much better. Kanye's foray into gospel should have been a heavenly experience, but it's half-baked, incoherent and ultimately falls short of godly.

If you're a diehard fan, you could give Surviving a chance, but if you're only a fan of their pop punk and emo efforts, it's best to skip this one.

Sadly, precious little restraint is found on the stuffy, haughty Closer Than Together.

Although ultimately underwhelming, Moon Duo still create an enjoyable easy-listening psychedelic atmosphere in Stars Are the Light. It might not be the kind of album you can become deeply attached to, but would never fail to please as background music.

The result is a listening experience that demonstrates a capacity for intimacy, but more often acts as an intermission or interruption to an otherwise steady pace.

Green's latest effort is a pleasant and sometimes surprising record. Yet, the album's constant adherence an identikit version of the '60s crooners struggles to land any outstanding tracks.

The Competition may be Lower Dens' most accessible album, but its best moments come when the band slow down and strips back their sound.

At its worst, the effect is soporific, but if you're looking for a comforting, cushiony soundscape, Cala is good company. It's when Regan opts for crisper, more invigorated sounds, though, that the album really shines.

This Is Not a Safe Place is a fine album with some songs that, with time, could become Ride staples. However, there are times where the band crumble under the pressure of bringing both a progression in sound, as well as a catering to their older audiences.

Though the band have toed the line between boyish charm and adolescent callousness for most of their career, this ambivalence has not aged well, and often obscures the more successful moments of sincerity on the record.

The album is fun and enjoyable, but it never really reaches what they are capable of as a dynamic group. Every song bleeds into the next, almost sounding the same. It's not the worst feature ever, but as a collection, it doesn't stick out as anything exceptional.

There's nothing here we haven't heard done better somewhere else. Sum 41 can and have done better.

Masquerading as a complement to SYRE, ERYS is a near replica of Jaden's previous effort, whose similarities run too close to repetition to make a true impact. The four-song arc that introduces the album (the "PINK" to SYRE'S "BLUE") doesn't quite hold the same ingenuity the second time around.

There are layers to Bleached that are yet to be uncovered. Whether it's worth waiting for is a question still left unanswered.

Standout tracks "Chlorine" and "Round" start the album off strong, but the downside is that the rest of the album feels drawn out, with more valleys than peaks. If you're not actively listening to each track, it can feel like the album is a long interlude that fades into the background.

Clarity, her debut album, falls short of capturing the breadth of Petras's rarity, excluding a few crystalline moments.

Despite 7 not being a fantastic project by any measure, the EP proves that Lil Nas X isn't a one-hit wonder and can find longevity in his career as long as he continues to show off his versatility.

Aforementioned moments of experimentation show a continued development of Future's "Hendrix" alter ego, but there's something to be said for getting to know him over a longer runtime.

Maybe it's the tedium of a career spanning nearly two decades, or a shred of complacency settling in after winning the highly coveted Mercury Prize in 2016, but Skepta seems subdued on Ignorance. A decent album, but not his best.

Dépaysé is for fans of Sinkane; new listeners might stop for a minute to appreciate the vibe before moving on.

Yes, Pianoworks does have its beautiful moments of levity; Cooper is great at that. But the experience of listening to it feels very passive. It's happening, but you, the listener, are not so much involved as you are just in the vicinity. It doesn't wrap you up and envelop you the way Eluvium works often do.

While this release really doesn't break any boundaries, it's beautiful and doesn't demand much more than good feelings. In these times, that's no small thing.

It certainly sounds diminutive in scope after the triumph of Iteration, and, despite the new gear, there's not much that sounds especially new or exciting here, just the usual Com Truise stuff in a slightly reduced register.

Pollard races through each song with all the gusto of the late '90s. His enthusiasm, though charming as ever, falls just shy of justifying what often feels like a collection of chaotic, unfinished demos.

At its best, the album retreads familiar ground.

The influence of R&B is like a silky-smooth cloud over the proceedings, raining drops of liquid gold that permeate the music. Those looking for the energy of Da Trak Genius might be disappointed by the polish, but true footwork junkies will find shining moments worth drooling over

It isn't inherently bad, but it isn't great either.

There is not enough energy here for one to latch onto and so the EP passes uneventfully.