Genius. [18 Nov 2006, p.33]

One of the most assured debut albums of the last five years.

This is easily their most expansive work yet--a continued exploration of the beauty in brutality.

The eloquence, barbarism, tenderness and sweat-drenched vitality of 'Elephant' make it the most fully-realised White Stripes album yet.

Though he could push his sound to be a bit more personal, he’s already armed with a generational voice, an explorative mindset and a singular writing style. Something exciting is bound to emerge from the storm.

Always ready to tell the hard truths for those who can’t, Dave has proved again that he’s a voice of a generation, sitting pretty atop his peers when it comes to making unforgettable London rap classics.

Whether that’s awards, recognition, or simply her own joy, her music definitely proves that the innocent Ray BLK of before is gone forever. Although the album is called ‘Access Denied’, Ray BLK has granted us the first glimpse into her rebirth, and we’re ready for the ride.

This is a beautiful album, informed as much her bold experimental music as by her golden age pop forebears. The record ends where it began, but Natalie Mering continues to push tirelessly and boldly ahead.

‘Carnage’ is arguably Cave and Ellis’ best record since The Bad Seeds’ latter day reinvention on 2013’s ‘Push The Sky Away’, or maybe even ‘Abattoir Blues’. It’s certainly two master craftsmen at the peak of their melodramatic powers.

It’s a rudely excellent album, introspective without ever being indulgent, OTT in all the right ways, honest and brave, full of brilliant songs with lyrics to chew over for months.

Two Technicolor explosions of creativity that people will be exploring, analysing and partying to for years.

Though Young’s specific type of yearning and bluntness may be indebted to SZA, she possesses the genuine star power to further develop an already strong artistic identity. This is a record that always remains sure of itself, even in its deepest, darkest moments.

Ultimately Hadreas has, with this album, proven his own hypothesis: you don’t necessarily have to blow things up to move forward.

It’s not an exercise of rethinking and tweaking old songs, but to take back ownership of her own music. The production here is a little sharper, with the instrumentation being brought further into focus.

Each song sees Williams fearlessly stepping between familiar and fresh influences. It seems less about playing with expectations and more about what feels the most visceral. [Review is based on the 17-track release]

It might lack the raw appeal of Kendrick's 2011 mixtape 'Section.80', but it's also a big-budget reminder that the 25-year-old hasn't forgotten his roots.

'A Grand Don't Come For Free' is proof that 'Original Pirate Material' wasn't a happy fluke.

Yes, ‘The Myth Of The Happily Ever After’ outshine its predecessor, but it could also – ironically – be the most cohesive Biffy album to date.

The production alone is noteworthy, painting a portrait of richness and precision that highlights Beyoncé’s peerless vocal range. .... It’s an undeniable thrill to see her swing so big on a project that dares her to be so intimate and vocal-focused, while making way for country’s up-and-comers too.

It is rare to see artists come bolting out the gate with such a strong identity, but here is someone who knows exactly who they are, what they want, and still daring to achieve more. It’s no surprise Heartworms has taken off in recent years, but ‘Glutton For Punishment’ proves she can stick the landing.

There is little Beyoncé has to prove to anyone 25 years down the line, but the start of this “three act project” proves that she’s still able to push herself and delve into new sonics, styles and ethos.

The gear shifts can be jarring, but album four is actually more cohesive than it has any right to be, a fact its creator has attributed to her common thread of influence in Stony Island Arts Bank. Horns up: Corinne Bailey Rae has thrown the musical curveball of the year.

Having stripped away the narrative cloak that shrouded the highlights of ‘Stillness In Wonderland’, she’s crafted a knockout record--and finally come true on her early promise. This is the best rap record of the year so far.

A brave, ambitious and nuanced album that looks to lead the band’s fans down the rabbit hole on a new, macabre adventure. Turning their backs on their punk roots was a gamble, but it’s paid off.

Her ambition is flabbergasting, let alone that she executes it with bundles of fun and a fizzing personality.

To say this album is epic would be an understatement; it’s a work of art in the truest sense.

‘Blue Weekend’ is another stone-cold masterpiece that further cements their place at the very peak of British music.

It works as a display of real power, range and versatility – all of which Rodrigo possesses in abundance.