It's a harrowing but beautiful end to an immense, intense album.

A polished fourth solo studio LP aimed at mainstream reggae audiences.

Across these varied tracks we hear Wretch 32 in all of his lyrical glory, making good on the promise he's shown since day one.

This album's a string-driven thing swinging between bravado and bleakness, and always beautiful.

Keaton Henson isn't a show off, but with talent like this, he has every right to be.

It's appealing, generally engaging and all shot through with the confidence of a man who must feel he's got the hit parade Midas touch

Lynne doesn't try to break any moulds here, but respectfully doffs a cap at those that shaped him.

It's good to hear a new album that brims both with strong opinions and great pop songs, often at the same time.

This is an album worth living and breathing to at least attempt to become acquainted with its wealth of emotional nuances and playful eccentricities.

Whatever the case, those years out of the spotlight have served TPF well: every second of Buffalo is wrought and layered with artisan care, and if ever you were looking for a record to banish the winter, this could be it.

On the first few listens, the album is less immediate than the debut, but patience reveals it to be richer, more eclectic and far more satisfying.

Spoonfuls of sugar might help Murderbot's version of juke to go down, but Women's Studies still contains more than enough dirt to drive Mary Poppins insane.

While Blood Red Shoes displayed a more erratic style back in 2010 on second album Fire Like This, this third feels formulaic – highly thought-out and polished.

This is a raw, unfussy rock record that forsakes gloss or studio tricks for instinct and urgency.

He may just have produced his best album.

La Voyage Dans La Lune is the 'most Air' thing this duo may ever craft, a perfect set with which to remind audiences of their continuing excellence.

The Computers deliver a wholly satisfying sound that won't go stale any time soon. Mainly because there's so little substance to it, but in this case that's no bad thing whatsoever.

A batty, compelling, smart and unusual soundtrack.

La La Land is so warm and easy to like, it triumphs over any misgivings.

As it happens, most of these songs are rockers, and even the ballads possess a toughened core of energy.

As a whole, The Deep Field nails it. True, the songs are long, it is almost ceaselessly rich, and you're going to want to skip its first 30 seconds every time.

Although at times the tunes and excitement commonly associated with a debut album can become lost in painful pursuit of authenticity, this is a surefooted and uncompromising collection.

The so-called purity of the sweet-voiced piano and violin are continually subverted by carefully applied extraneous sounds.

There must be worse fates than ending up as a classic pop jukebox, and there's excitement as well as devotion in all this archaeology.

There's nothing bad to be said for Soul 2, and with Horn on production everything shines brightly like the first snowflakes of a new winter.

Sneering like the New York Dolls transplanted to a nighthawk-populated diner after exchanging their shiny skin-tight trousers for leather jackets and Elvis LPs, this is a rock'n'roll record and no mistake....fantastique in anyone's language.

The unshrouded nature of these compositions reveals interesting and insightful aspects of the creator and his practice.

While the album's polished and pristine, it also feels dated and somewhat lacklustre, any true inspiration placed on hold. This is Elton Ron.