A very welcome return.

Hypno-grooving at its best.

This is music that stretches from the decaying rain-lashed estates of their home to the stars.

It's a shame, then, that these creations occasionally meander into somewhat monotonous territories.

What first seems impenetrable and maybe even pretentious reveals itself to be a rich and detailed tapestry, full of colour and emotion.

Hard to fault but not the progress we hoped for.

There's nothing here to write home about but it should make a nice stocking filler for Mum.

A step forward in terms of production and vision, but no doubt at quite a personal cost to Lukid.

Representing the sum of all the label's split personalities--including the rousing microhouse of closer 'Good Times'--it should be listened to more as a celebratory catalogue than a seamless concept LP; a worthy precursor to next year's 'Twenty Years Of...'

Broadly eclectic throughout, it's a buoyant return.

With lyrics that can make you laugh out loud and beats that reach the feet, Barnes has managed a careful balance between sheer absurdity and moments of genius.

While every track on The Haunted Man is brimming with invention, there's little to keep you coming back for repeat listens.

With a distinctive sound that's certain to have mass appeal, this teen troubadour is set to smash it.

The only problem here is that the genre is taken to the extreme, and can blend together to the point where the album seems like one massive track.

A relationship breakdown between the band's two founders, singer Nona Marie Invie and producer Marshall LaCount, is laid bare, but with dramatic and beautiful consequences.

It's charming in every way, but still rooted in the pop folk that brought Beth to us in the first place.

It's a masterpiece.

The absence of any high-profile pop vocal collaborations--save for Snoop Dogg on 'I'll House You', which playfully (and successfully) pays tribute to house music circa Dance Energy--and greater focus on the French house and techno that formed him, present Boys Noize at his most venerably accomplished.

Overall it's a big nostalgic slice of deliciously moreish hip-hop pie.

Typically rich, but this time, a playful outing.

A quirky best-of entertaining the inner child with tongue-in-cheek lyrics and psychedelic funky pop.

As polished as a beach stone, it's a subtle, startling work.

It's very much a 'if it ain't broke' album and, for now, that's okay.

A quietly seductive album that's atmospheric, sometimes melancholic, but often beautiful.

HWTD has dug himself a neat, little songbird alcove and it's one only he can reach.

A brilliant and intoxicating record.

Shields is an engrossing, beautiful work which could only come from Grizzly Bear, and only at this point in their career.

There's certainly a harder edge to the sound, yet the songwriting is the key, with a set of tunes commercial enough to sucker you in, yet complex enough to maintain interest.