Kasabian's paranoid mindset is so in tune with the zeitgeist you almost imagine singer Tom Meighan has a sell-by date stamped on the arse of his corduroy strides. [4 Sep 2004, p.71]

This is a cut above your average US alt.art-rock, most notably on ‘Stranger’, which sounds like The Strokes doing The Shins.

It's all as comfortable as a favourite battered chair, but give it a chance and you'll discover a gem of a record. [2 Jul 2005, p.64]

Sadly, TAI...'s surprise maturation isn't yet 100 per cent complete.

Save perhaps for an unusual dalliance with folk ('I'll Be Around'), little new personal ground is broken, but their songwriting chops and sound design remain cherishable.

In revisiting the production of her '80s records she paradoxically produces something that sounds timeless.

OK, at Disneyland. Yes, on drugs.

There's a strange disconnect here, one that might be ironed out by facing the past head-on rather than treating it as a concept.

There are some particularly heady flavours here to be sure, some blended well, others not.

Each song feels fully formed yet tells a unique and important chapter in this period of Owens' life.

The album has a coherency that was absent first time around, and there is also a rattling freshness to the sound that Timbaland has rustled up.

Diasporic dancehall reggae, spruced up and polished around the edges, but essentially retaining the artist's signature style.

The psychedelic outings sound too sharp as a consequence, but it's an effective repositioning overall, even if it's hard not to want to scruff up their hair just a little.

The whole thing wafts along in a pastel anasthaesia, Dadone's vocals rubbing against barely-there songs crafted with shards of synth, glockenspiel and harmonium. Conversely, the only times Weathervanes descends into twee is where it tries too hard to be noticed.

It's far from their best work, yet from the fuzzy lollop of the title track to the reverb-drenched "Pendleton," it reaffirms that not only are Buffalo Tom one of America's great lost bands, but that real estate's loss is rock'n'roll's gain.

Mostly, Landshapes sound like a band that might be a better prospect live, where their ever-shifting ideas can fully flourish.

Love Me follows up 2012 debut album ‘Salton Sea’, but edges away from sleek, techno throb towards something more tender and torch song.

Their debut sounds sleek and exhilarating, although Foals seem cautious about completely breaking out of the punk-funk strictures that have confined them so far.

In many ways Boys & Girls it is as note-perfect an album as you'll hear all year, yet it's also often perfectly inert.

Their spooky, sexy, dark folk is kept bare and bolshy, like Laura Marling with sex and humour.

This psychedelic folk pop-athon of tickled riffs, snappy elastic basslines, shimmering synths and sweetly sung vocals is all dreamy eccentricity, with a bittersweet hint of rhythmic unrest, from start to finish, and should send Hidden Cameras fans into an amorous tizz after just one listen.

Triumphantly succeeds in underlining Dulli's deft touch in understanding the magic woven into the fabric of great pop. [4 Sep 2004, p.73]

It might have taken a decade, but this feels like grime finally beginning to grasp its vast potential.

It isn’t flawless: a few tracks blur together in the middle stretch, and some lyrical moments fall flat. But the integrity and conviction behind the creative statement more than compensate.

Teenager is simply more wonderful, bittersweet laze-pop of a hue at which The Thrills have become grand masters.

For in the Düsseldorf duo's continuing remit to bewilder and dazzle, conformity is the enemy. Sick of being billeted as d'n'b smugsters, 'Idiology' is a post-everything record - it's the sound of music being carefully shredded in the hope of finding something new and better.

Her songs sound even more spaced out and unreal than ever.