The album is stuffed with this kind of lyrical proficiency, which demands high levels of dissection. ‘King’s Disease’ is an acutely perceptive and culturally relevant body of work that finds its author willing to try out new ideas. There’s a genuine conversation to be had about whether it’s the best rap album of the year so far.

Alongside stripped-back, warm and hazy versions of the always powerful ‘Ohio’, ‘Alabama’ and ‘Southern Man’, Young’s new take on 1977’s ‘Campaigner’ hits especially hard.

A stunning return to form. [14 Oct 2006, p.35]

Opening track ‘Back To Land’ wouldn’t be out of place at an Eric Clapton gig, closer ‘Everybody Knows’ is dreary, and ‘These Shadows’ could be a Mazzy Star throwaway. The rest, however, is gold.

heir lighter moments can be a bit cringeworthy--too earnest by half--but when they go slow and heavy, they’re unfuckwithable.

Where the intervening years have tempered that haste, this fifth album offers compensation in the form of their sharpest, most precise set to date.

Recorded in a primary school, the Reading warbler's third solo record is whimsical, pleasant and calming, with shades of Damien Rice and Regina Spektor.

Big Boi is the best thing about the album--and double props for staying true to his entire career's quest of never making the same album twice. But Vicious Lies And Dangerous Rumors as a whole? It's all over the place.

‘Free’ is a liberating collection that unshackles the star from his past and his insecurities, and slowly cracks open a door to version of the future that will inevitably arrive when he’s ready. Wherever that journey takes him in this phase of his career, it’ll be an honour to witness.

While Negativity is an apt word to describe the impact of the events that inspired Deer Tick’s fifth full-length, it’s not an overwhelmingly dark record.

The misogyny of Tha Carter V cheapens its moving moments.

As a body of work, ‘Glorious’ is uneven – there are a handful of certified hits and a bunch of questionable additions that suggest better quality control was needed here. But, with her undeniable energy and beautiful message of girl power, it’s still worth a listen, even if it doesn’t live up to the expectations that her attention-grabbing singles previously set.

For the most part, The Stoop is a tuneful if beige Ronson-esque production, set against clever-lyrics-for-stupid-people.

There are some bumpy moments along the way, but this ‘Voyage’ is a nostalgia trip worth taking.

[Evans is] a sharp songwriter with an acute ear for melody and a voice that could bitch-slap any R&B wannabe into place. [21 May 2005, p.66]

Urban Turban is more grin-inducing than a piano-playing cat.

That's what they do with pop--layer incongruous harmonies and bastardised riffs to make us look at it anew. If that sounds like too much effort, then Man... isn't for you. If however, the thought of it as a brilliantly unsolvable puzzle appeals, then bow at the feet of pop's new Picassos.

Festival stalwarts and vintage sonics trailblazers, their no-fuss rhythm and blues has little truck with reinventing the wheel and fizzes with the simple joy of creation.

Adams could clearly make use of an editor here--but you can't possibly hate an album that uses pedal-steel on every track. [24 Sep 2005, p.43]

Cronin’s knack for languid songwriting is enhanced by adding more opulence.

Of all the dead genres, you’d think it would be hard to credibly reinvent blaxplotation-era soul, but The Heavy (who, along with Pop Levi, are heading up Ninja Tunes’ new imprint Counter Records) pull it off explosively well.

There’s not much sugar to sweeten the pill, meaning Trap Lord is often one-note and depressing.

A blissful happiness pervades 'Baby I'm Bored', but then that's Evan all over.

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

The Faint continue to ensure that across the pond there's an infinitely sexier state of dance-rock affairs. [11 Sep 2004, p.55]

Farrar has the passion to carry the songs beyond any hackneyed themes. [6 Aug 2005, p.56]

It's hard not to enjoy being alive while listening to this album. [25 Feb 2006, p.31]

It’s this ability that makes The Big Pink so special for, beneath the dissonance, the artful posturing and the pop hooks is something far more enduring: these guys have got a soul and they’re not afraid to bare it.