Extremely moody yet highly groovy sixth album.

Serpentwithfeet’s warmest album yet, ‘DEACON’ is like a kind of blossoming – the result of meticulously excavating through heartbreak, and hitting on the joy waiting beneath.

The growth and progression here is stunning.

A rough and rabid ride.

It’s an album that could have easily ventured too out-there for the masses to find it palpable, but thanks Tumour’s outsized talent and personality, ‘Praise…’ avoids decadence and proves richly satisfying.

One of the best live albums that NME has ever heard.

Once I Was An Eagle sets a high bar.

The Go! Team's eclectic soundclash makes us feel deliriously dizzy. [11 Sep 2004, p.53]

His songs are rarely constructed from a place of deeply considered meaning. Instead, they’re largely streams of his conscience: creations that invite listeners to cosy up in his world. On ‘House of Sugar’, it’s his most exciting invitation yet.

‘But Here We Are’ is a beautiful, noisy celebration of brotherhood and a stark, painful exploration of loss. It is messy, gut-wrenching, ambitious and gorgeous, as the remaining members of Foo Fighters push themselves to their limits and beyond. Through it all, ‘But Here We Are’ is an undeniable reminder of the healing, unifying power of music.

As ambitious as it is ambiguous. In less skilled hands it could easily fall apart under its own weight. In Picton’s, however, it’s a masterpiece.

For all its occasional lack of bite and drama, Halcyon Digest's tender, transgressive pop proves a fine and focused addition to a uniquely haunting body of work. Cherish it like you would a phantom limb.

Despite the daunting level of hype surrounding it, the Bath-born 20-year-old’s debut 10-track mixtape doesn’t merely justify it, but exceeds it. ... PinkPantheress unloads these breathless and adventurous songs with a winning confidence that comes only when you outperform everyone’s expectations, especially your own.

‘Miss Colombia’ is an impressive, experimental collection, filled with complex, crunching production and romantic lyrics that recount love and loss. Mixing the old and traditional with modern elements, it’s a powerful statement of Lido Pimienta’s innovative creative vision and Colombia as a whole.

Crisp, rolling rap beats and lush instrumentation. Lyrically, ... she's brutally honest about sex and her failings with men. [11 Sep 2004, p.55]

45:33 is loads of fun, a satisfying folly that's as central to an appreciation of "Sound Of Silver" as the lyric sheet.

With ‘God Save The Animals’, these genre-resistant idiosyncrasies remain, though a few moments shine through with newfound clarity and vulnerability. Across the diverse and consistently excellent 13-track record, he hops between styles, perspectives and energies with abandon.

These five Dublin lads prove their talent for painting in far more colours than just blacks and greys, and Fontaines D.C. have proved their worth as one of guitar music’s most essential new voices.

If he carries on writing songs as deliciously sour as this, dance music will end up needing to be saved from James Murphy, not by him. [22 Jan 2005, p.50]

He may have started out as the quintessential angry young man, but he’s become a textbook study in growing old gracefully--by doggedly refusing to stay set in his ways, Paul Weller keeps finding new ones to surprise us.

It makes for a frequently breathtaking companion to ‘Take Me Apart’. In a debut album which was all about breaking down, ‘Raven’ reminds us of what it means to be put back together.

On solo album number six, the meal is lean and hella spicy.

Porridge Radio nail some of music’s hardest tricks – breathing fresh life into indie and making a record that can loosely be compared to other bands in fragments, but also feels entirely their own. ‘Every Bad’ is a breathtaking step up from their bedroom-recorded 2016 debut, ‘Rice, Pasta And Other Fillers.’

Picking us up where the laptop prof's 'Los Angeles' debut dropped us for another nocturnal journey through LA that serves as a moody, widescreen, be-bopping riposte to UK dubstep. Only this time it's a flashier ride.

It's a shotgun blast of cranked guitars, bruising hardcore and canyon-sized choruses, and it's mesmerising.

Within the chaos, there’s beauty — the sensitivity of ‘Hey Jane’, the infectious hip-hop bite of ‘Thought I Was Dead’, the rising cacophonies of brass and percussion on ‘I Killed You’. But perhaps a less frantic approach would’ve benefited the listen overall.

For all the strange twists and turns, the rich layers and dark beauty to be found, nothing here grabs you and sets up home in your heart like 'Veckatimest' did.

This is arguably Cocker’s best work since Pulp’s 1998 comedown record ‘This Is Hardcore’ and certainly a greatly promising start to his new chapter. Cocker remains in an entirely different class.