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Blake’s vocals are, predictably, beautiful; Blake’s production is, predictably, meticulous; and it’s all, predictably, quite predictable.

The album is so delicate that it feels too fragile for its own good. It’s like a frozen wildflower - beautiful, but could shatter at any moment.

Emotionally vulnerable and creatively restless. The record plays out like a prolonged stream of consciousness, yet every aspect seems carefully constructed.

The end of the 2010s is upon us, which means we are bound by obscure 16th century law to rank our favourite albums of the decade.

It's the end of the year, which means we're legally obliged to round up our favourite albums. Here are our picks in the year of our Lorde 2019.

For all its instances of greatness and undeniable beauty, MAGDALENE gets tangled in its own pop epic aspirations.

Blake has always been hugely successful at setting a mood, but for the first time in his career he actually exudes genuine emotive qualities.

The record is scattered with gorgeous moments that ultimately feel like a tease. Utopia occasionally grips its claws in, only to let go seconds later.

Kendrick explores a multitude of personal predicaments, but it's difficult to stay focused on what the record is actually trying to convey. It feels incomplete.

An extremely smooth ride with no turbulence or unnecessary distractions, full to the brim with colourful instrumentals and warm, comforting Solange vocals.

22, A Million feels like a nondescript blur. It doesn’t deal in structure, but in loose clusters of peculiar sounds and imperceptible words. It’s a pretentious mess.

Blond flirts with indulgence but just about manages to stay grounded. It’s an account of slight thoughts, vague ideas, and delicate musings.

For an album that clocks in well over the hour mark, it’s regrettably unambitious and even a little safe. This is effectively James Blake on autopilot.

The group have confidently cemented their status. If they stay together they can progress toward any direction they so desire.

Fans of Blake's stripped back vocal/piano tracks are served well here, with the title track a particular highlight.

It’s beautifully discreet, formed with an elegance that pushes it to the point of invisibility — blissful for some, but perhaps too despondent for others.