[Silverlined is] a glorious peak on an album that, save a couple of weaker links (‘Angel’ and ‘Just A Ride’) is hard to fault. Thank god Peace are back, and on breathtaking form.

Surprising, eclectic and intimate.

This is a further stumble away from the glory days of 'Ten'. [29 Apr 2006, p.39]

Such confident, experimental songwriting points to a rebirth for Wild Nothing, and means ‘Life Of Pause’ can be considered alongside indie records like Tame Impala’s ‘Currents’ and Unknown Mortal Orchestra’s ‘Multi-Love’.

She’s great, but Lord, it’s heavy-going.

Leaving behind the soul-infused, gutter-punk leanings of their debut, this desperately craves the attentions of the MOR indie mainstream in a way so steeped in bathos that the over-produced sheen of the car-ad soundtracking title track shines less like superstar diamonds and more like sun off a bald man’s head.

Despite a handful of lacklustre moments on the album, ‘Everything Else Has Gone Wrong’ permeates the band’s trademark sound with fresh ideas.

‘KiCk i’ incorporates pop, experimental, noise, electronica and psychedelia into one project. Amid a highly acclaimed career, Arca’s latest album presents a new high-water mark.

The track list lurches, rather than blends seamlessly, and on the spacey ‘This World’ she plays with an atonal vocal line (and the admittedly great lyric “you little prick – what do you know?”) that typifies her preference for experimentalism over accessibility. Even so, Moolchan remains as singular – and sophisticated – as ever.

A slow slog through a murky alternate dimension, from a band who made their name on vibrancy and experimentation, Inside The Rose is frustratingly lacking in both.

The result is an absolute pleasure.

This is Americana of the highest order. [20 May 2006, p.33]

Her debut LP is good, but not up to the standard its title suggests.

This warm, wonderful record is a joyous, head-spinning delight.

The Adams of ‘Love Is Hell’ has gone out to make an album that actually is classic rock ‘n’ roll rather than one that can simply impersonate it, and sound convincing. [Review applicable to both Part 1 and Part 2]

In her music, as in her life, everything revolves around sex - but unseemly as it is for a woman of a certain age to frug bawdily alongside Damon Albarn, Marianne gets away with it.

Merely a decent Morphine album.

This is certainly the kind of music punk had to be invented for. It probably won’t make it onto the Radio 1 playlist, but don’t be surprised if something from Stiff pops up on Mid Morning Matters.

The problem is that Ferg fails to provide a coherent musical vision to go with these compelling reminiscences.

Business-as-usual has rarely sounded this beautiful.

Cosentino announced her solo debut the same day Best Coast announced their “indefinite hiatus”. It was a bold move, but judging by the fruits of ‘Natural Disaster’, it was worth it.

A classic, if often over-familiar Cribs album then, but the door is open for the forthcoming Steve Albini-produced ‘punk one’ to be the death-or-glory game-changer.

Not only does it shine a light on what inspires one of the greatest living American songwriters, it also works to preserve the greats of the past and ensures that the best music and stories continue to survive.

His world may be grittier, but Plan B's up there with Alex Turner as a lyricist, crafting simple and darkly witty songs about the reality of life in Britain.

‘McCartney III’’s freshness lends it to both faithful covers and complete rewrites – there’s no baggage to these songs.

Ultimately, Aerotropolis is not just a statement of Ikonika’s personal growth and reinvigoration, but a measured statement of British electronic music’s broader lift-off.

Here he tightens the screws a bit to make 12 purposeful, concise tracks.

Combining afrobeat, dub and more samba slickness than you can shake a headdress at, the frenzied carnival rhythms of Pop Negro will spark a fire in your newly tropical soul that will still be smoldering come next year's Mardi Gras.