Not hip-hop in its most conventional form then, but a mutant version drenched in, and suffused with, the same rebellious spirit. An organic meta-hip-hop, if you will, that hearkens back to Gill Scott Heron's innovation and looks forward as well.

Bon Iver is the sound of a man making peace with the world, saxophones and all.

Electronic, if not exactly rejuvenated, are rewired, recharged and, really quite good again.

There's undoubtedly something there with Frankie--those effortless, skippy choruses aren't as easy to do as they seem. But he and his Heartstrings haven't quite found their true north yet.

Ultimately, however, it’s hard not to notice that the production outshines the delivery.

Spins a web of eerie jazz-junglist percussion. [22 Jan 2005, p.51]

Emotion is packed with frighteningly relatable songs about love, longing and heartbreak.

Within this impressive, ambitious, often stupid whole, are moments of melthing human beauty. [29 Feb 2005, p.65]

Time has proved Morrissey to be just as powerful and alluring a performer at 45 as he was at 23. [2 Apr 2005, p.49]

A gently addictive and well-balanced offering.

Like a good new party drug, Lesser Evil finds a sweet spot more often than not if you let it.

A little more emotional chaos, a dash of the dark stuff, might make such avuncular campfire grooves more worthy of our time and money.

There's a more commercial edge to the beats, as well as a subversive edge you'd expect from an MC who's cribbed from Eddie Murphy routines.

To The Happy Few might be a fairly transparent attempt to relive Medicine’s salad days, but there are many worse sources they could mine for inspiration.

It's a hardcore record from a top-shelf kind of a guy, but the work of a unique mind.

Rollickingly great fun to listen to. [4 Mar 2006, p.31]

An overly soft mid-section ('Center Your Love', 'Vizion') reveals that chillout-esque pleasantness isn't Stewart's forte, but that's not to say this album's only good when the whipcrack snare madness takes hold.

'Grinderman' is an almost defiantly edgy record.

Aphrodite is her most unified work in ages.

St Jude is conclusive proof they have far more interesting things to say when they let the tunes do the talking.

Each song is so powerful and crafted you can’t help but buy into whatever it is Ava Luna are trying to sell you.

She sounds like she’s having a bathroom hairbrush-singing party to which we’re all invited. These are sweet sweet fantasies, baby.

Eminem's urgent radio hit 'Lose Yourself', you already know. It's excellent.... The two other new Eminem tracks '8 Mile' and 'Rabbit Run' are on the money, too, the latter being the shortest, shoutiest thing he's ever done. Elsewhere, things get more patchy.

The emotions might not be quite as strong on this record but Sea Of Bees still manages to wrap you up in her words.

All in all, a weird brew, set to confound anyone who likes their music to fit neatly in a box.

It’s probably just a little too icy and detached to blow up in the manner of The Weeknd, Jessie Ware or similar indie R&B success stories, but Pull My Hair Back's pop sensibility renders it the most obviously accessible thing Hyperdub have released for a while.

The important thing is, the tried-and-tested and the "new" mix fairly well.

This beatific bpmfest amps expectation giddily high for the Boston five-piece’s debut proper, and really is the gift that keeps on giving.