At once experimental and familiar enough to keep his stunning second act on course, ‘C’mon You Know’ finds Liam Gallagher having his cake and eating it – and there’s plenty to go round at this party.

It's relentless, occasionally breathless but always absorbing. [4 Sep 2004, p.73]

The tracks have separate names but they're really just one whole impressive piece, about as far from Sheeran as you can get.

If these pals enjoy bugging out to clusters of dizzying breakbeats and/or swooning, sad house chords, so much the better.

It's clever, brave and seamless enough to become a classic.

The Pirate's Gospel is a campfire folk gem perfect for the summer festivals.

They may be strutting right down the middle of the road, but they look pretty damn cool doing it. The Soft Pack make being A-OK into something to be proud of.

The result is an eccentric grab-bag of styles and influences, with enough harps on it to keep Joanna Newsom fans happy, and even a retro 4/4 beat dancing in on the aptly named ‘Disco Compilation’.

II is the noise of all their Christmases turning up at once.

He ought to save the apologies and descend into full-on self-loathing mode more often.

‘Written And Directed’ is a thrilling step up from a band quietly coming into their own.

FLOHIO’s willingness to embrace a number of genres and sounds in her music — from 2000s grime to house music — can only be a positive thing, and ‘Out Of Heart’, a body of work that does show promise, serves up a refreshing take on modern-day rap. There’s still room for improvement, though.

At just 28 minutes in length, Kasabian’s eighth studio effort is concise, precise and generally focused. This allows a vibrant emotional clarity to bleed through its swaggering fabric, adding up to Kasabian’s strongest album in some years.

The wonder of 'Stars...' is how magnificently alive all this suburban angst sounds.

This is the most engaging record Green has released since 2010’s ‘Black Sands’ – it is light, airy and remarkably well pieced together.

The album peaks quite early – perhaps with a few tweaks to the tracklist, the new stars of YSL could have had a little more time to shine.

Given the period of separation we’ve had from them, it feels a little phoned-in in places and lacking cohesiveness.

‘Quarter Life Crisis’ moves between moods that translate to bright, Day Glo colours (‘Kid Genius’) or dark goth accents (‘Die Alone’). But the former can often turn grating.

This is instead a solid collection of outtakes, rather than a full display of their songwriting muscle.

The result is a rock-solid collection of bops that gives McRae space to grow in the future. She’s great at sultry and self-confident moments, but ‘So Close To What’ proves she has other shades in her colour palette.

Growing up is hard but Bully make it sound exhilarating.

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.

If there's a lesson to be learned from 'Making Dens', it's that there's nothing to be feared from pushing the pop envelope that little bit further.

It’s a shame, then, that instead of a sequence of whip-smart sonatas ruminating on the Scandinavian psyche, all that dribbles out is a pedestrian stream of the same old bubble-bath beats.

Following the birth of her first child, the underappreciated Laura Veirs recorded an album of mostly traditional folk songs for children, which has charm far beyond the nursery.

Their sound, which paved the way for the likes of Bloc Party, is still pretty timeless.

Quilt really shine when Anna Fox Rochinski, Shane Butler and John Andrews harmonise impeccably over the spooky melodies of 'Saturday Bride' and 'Secondary Swan'.

Though often overpowering and, by the end of the record, a little wearing, this palette provides a consistent buoyancy and energy – and there are plenty of times when The Maytals turn it to their advantage.