Clavish narrates his story against a backdrop of deep subs, eerie synth melodies, and dark ambience that allow his bars to cut through with a real sharpness. If he learns to refine his output a little, there’s no reason Clavish can’t achieve the levels of stardom he’s been tipped to reach.

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

It’s far grubbier and more riotous than any high school musical.

‘Small World’ might be the biggest diversion from their main stage sound to date, but it’s also one of the most heartfelt and rewarding. Metronomy, it’s good to have you back.

Covering so much ground (‘Hydrate’ even bridges dubstep and reggae) means the album lacks a clear narrative or overarching theme.

Smart; savvy; insanely resilient: 'Waterloo To Anywhere' is just the ticket.

[A] curiously eclectic record.

Pierce’s creative and personal rebirth are evident throughout, but a return to the trappings of earlier records makes for a relatively limp second half. ... Overall, though, The Drums sound closer to what Pierce had envisioned all those years ago.

Rather than a fresh blast of wizardry, ‘Extreme Witchcraft’ is more of a feet-finder for our times.

Rise Ye Sunken Ships is actually pretty great, but guys, just dial it down a bit yeah?

Arthur Beatrice running their race slow and steady has resulted in an album full of sophisticated pop.

Father of 4 is a fine body of work that builds a convincing case that Offset is currently best-placed to be Migos’ break-out solo star: once again, the final act of a trilogy proves to be the finest.

All told, it's incredible this is a debut album. Accomplished, yet subtle, it works perfectly as a whole in a way all the production skills in the world couldn't replicate.

It's an unyielding piss-up of tattooed garage riffs, petrol-drenched blues and Marlboro-chuffing growlers. [1 Jul 2006, p.35]

So one third's great and two thirds grate, which is an improvement at least.

The Lo-Fi's are still operating more than competently, but this time round they're not likely to blow any minds.

The reason that 'Come With Us' seems unsatisfying is that The Chemicals no longer seem rooted in club culture the way they were in their Heavenly Social days.

It’s full of clever collaborations and interesting vocal performances; Roddy Ricch has placed himself comfortably in his own lane.

A union of intelligence and passion. [26 Mar 2005, p.51]

It's an album that leaves you in no doubt that Odd Future's leader is a rare talent.

It’s Waller’s voice--one that proved too powerful an entity for his former band, Vincent Vincent And The Villains--that stops The Rumble Strips from being mere Dexys copyists.

All we can say for sure is that here is a talent in bloom, the sound of ideas finding shape, winding out in all directions.

His third album in as many years shows he’s on a streak that’s both prolific and high quality.

Doom Days is a vivid snapshot of humanity and an imaginative, adventurous levelling up from one of Britain’s most influential bands.

Worship The Sun continues that approach, sounding more cohesive in the process. Somehow, though, it’s also more sluggish--their ‘60s indebted garage-rock drags where once it excited.

Though the album gets a little messier and more unfocused from this point, ‘Oceans Niagara’ points to a beautifully bright future for the M83 project.

For a record just 30 minutes long it feels impossibly epic and for all its scuzzy, lo-fi production, it still sounds fully realised. Not to mention fully brilliant.

This is glossy Americana, mixing The Avett Brothers with Edward Sharpe And The Magnetic Zeros, its piano- and violin-led crescendos emulating old-timey grandeur.