There are moments of pure spectacle, such as the delightfully absurd accordion-rave lead single ‘Joyride’, and ‘Yippie-Ki-Yay’, an unholy fusion of Def Leppard and Florida Georgia Line. .... ‘Love Forever’, ‘The One’, ‘Too Hard’ are relatively straightforward love songs that don’t reach the vulnerability of albums past. It all builds to the closing track ‘Cathedral’, a spiritual sequel to ‘Praying’.

At times that flow can feel fractured, but the underlying consistency is a singular vision and an irrepressible sense of purpose.

He's a white man crafting beats behind street-level odes to marking out territory from the likes of Detroit's Guilty Simpson and Marv Won, plus others, and he draws on a cornucopia of cultures to do so. Latin, Middle Eastern, African and, worst of all for Starkey, freaky German (NOT THEM!) Moog music rears up on a seductive record that reveals itself in layers.

A great record. A great work.

‘From A Birds Eye View’ is a true delight, revealing greater depth with each listen, and Cordae truly seems to be having fun while proving he’s here to stay.

Angles isn't perfect, but if it marks a new phase of creativity and togetherness for the group, then it could be more of a success than even Is This It.

Dougall relies too much on overly simplistic lyrics, and it gets a bit annoying.... But this is a minor flaw in what is otherwise a strong second album from a band in the ascendancy.

It suits them just fine.

The Donnas are utterly convincing...

It’s terrific nonetheless, a coiling gothica sci-fi soundtrack that cocoons Richard Pike’s echo-soaked vocal amid pulsing, binary-code electronics.

[Flowers] bares more on Wonderful Wonderful than ever before, and the result is the band’s best album since 2006’s ‘Sam’s Town’.

[It] can't top the early stuff. [5 Aug 2006, p.29]

Once the dust dies down, though, the remainder of Who We Touch feels disappointingly timid in comparison, and the particularly saggy middle section sees them pitch their tent smack bang in the middle of the road.

Head for Home if you want to hear where drum'n'bass, dubstep, garage and old-school jungle meet in 2013, but really just pick it up if you're looking for more bangers than a barbecue at a firework factory.

This 10th album lacks such bite [as 1999’s single Flame].

He sounds small, beaten and subdued beneath the Lemonheads-meets-Diiv slack drawl of the music. The key thing here? Unlike so many of his contemporaries, he also sounds totally believable.

A dazzling debut ready to win the world’s hearts.

New Gods is endlessly lovable stuff.

Sleepy Sun are at their best when they revel in both light and dark, unleashing throatily riffing guitars to disrupt pastoral interludes.

The Bachelor is a thoughtful record whose greatest flaw is only that it’s overthought (though to the fans obsessive enough to fund it, that’s probably a bonus).

On their fifth album there's a newfound clarity in the production that provides an added dimension to their tunes.

Causers Of This’ infects your mind with pure psychedelia, splicing such conflicting sounds as soul, freak folk, hip-hop and electronica, and the result hits you like Animal Collective on a comedown, or Ariel Pink with Seasonal Affective Disorder.

Because rather than an exercise in hype, what Born This Way really is an exercise in the pushing of everything to its ultimate degree. And for all the black, white and silver, it passes that test with flying colours.

'Breakdown' was a kicky little exercise in how to make a great pop record. 'Elevator' shows how to make one of substance. [23 Apr 2005, p.50]

It's tuneful enough but, really, the case for the dismantling of 2010's nostalgic apparatus starts here. Less hypnagogic pop, more over-the-hillwave.

A strange record, but an intriguing planet to get sucked into.

The messy trip-hop of 'If I Could' and screeching synth line of 'First Snow' mean Nausea lacks consistency, but it's a clever and rewarding record.

When Kane rises above that tentativeness, as with the rousing and charismatic title track, the effect is engaging. But for the most part, this solid but unchallenging album is a step towards nowhere in particular.