It’s a worthy follow up to last year’s excellent, sprawling fourteenth album Revelation’.

On the intoxicating Heard It In A Past Life, Rogers sounds in love with art, nature and life itself.

'News And Tributes' is not just better than their first album, it's a fabulous record from a band with an exciting forward catalogue ahead of them.

Little Joy might not quite have built a castle in the sky, but they’ve constructed a cosy little corner in our hearts.

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

‘Such Pretty Forks…’ might not be flawless, but in that way, it’s true to Morissette’s depiction of life – something that’s often messy and tough, but worth sticking with.

What's missing is any emotional contrast to stop all that cleverness from sounding overwhelming.

On their 12th album, Red Hot Chili Peppers not only get comfortable with their own impressive legacy, but prove there’s plenty more to come.

The gleeful squelches on ‘Life Of Birds’ might sound like a cheery Game Boy--but, next to the sinister electro-chill of the rest of the record, it’s a nursery rhyme.

A brilliantly inventive record that concludes with a bit of sarky musical theatre (which may be aimed at Adamczewski). Saoudi has hinted that this could be Fat Whites’ final album. If so, they’ve gone out on the most surprising note of all.

Year... continues to follow that bombastic course, packed from start to finish with grandiose, rousing flourishes and ample proggy ballast.

Large Hadron pop that'll frazzle yer neurons.

It's honest, intense, funny, furious, and on 'Letter 2 Dizzee'--an olive branch to his estranged protege--tear-jerkingly poignant.

There are ideas here that could have been developed into a stunning 10-track album. Unfortunately, Quaristice contains 20 ‘tunes’, many of them elusively experimental ear-tormenters.

It's the sound of experimentation working, it's what what the second Elastica album should have sounded like, and it's a compelling story unfolding, with many more interesting twists still to come.

What 'Disappeared', in all its stealthy innovation and breathless compendium of sounds, amounts to, is a kind of avant-garde musique concrète - difficult noises shrouded in a cloak of accessibility.

It’s the vividness of the lyrical themes and rich, poetic words that ultimately carries the record over, but unfortunately so much attention is paid to crafting the perfect setting for Graham’s brooding lyrics that they all too often become lost, a nuisance among an overly eager wall of sound.

Too often their over-earnest delivery is unbearable.

While there was an endearing humility to Smith's work, this dour offering provides little comfort.

Nothing new here, as you might expect, but a handful of catchy tracks could teach those young whippersnappers a thing or two about melody. [11 Mar 2006, p.43]

Avoid this tosh at all costs.

The record shines during these more upbeat, fun moments. ... The album is less successful when Cabello tries to show the side of romance where you’re falling head over heels, or doubting a relationship.

The whole album is driven by that Nick Cave sense of foreboding menace, an outlaw spirit that would sit well on the Peaky Blinders soundtrack. But while there’s plenty of that classic BRMC ‘tude, and a vintage touch, they’re still full of ideas.

Kid Cudi gives us every part of himself, laying out his insecurities and inner demons in the hope that it might help someone else, his words etched into a vivid backdrop of intoxicating melodies and palatial riffs. No one does mood music quite like Cudi.

On a lesser album, the eclecticism might lead to a lack of coherence, but this record is always threaded through with Beer’s diaristic lyricism. With its consistent, gut-punching honesty and witty wordplay, you’ll always find something special on ‘Life Support’.

Their fight-and-make-up pop is like Dananananaykroyd gone new wave, with the B-movie and comic-book geek-joy of early Ash. But that doesn’t mean there’s no depth, if that’s your poison.

An extremely mellow album, while hardly groundbreaking, it’s quietly beautiful in places.

Despite being a good 30 years out of time, it's absolutely brilliant.