Having eschewed the garage rock roots of their debut, DOLL have morphed into a temper-explodin', strop-throwin' antithese to their Swedish peers. [3 Jul 2004, p.65]

They sound like they actually mean it. [11 Sep 2004, p.57]

Nothing new, then, but the Jaxx's sound returns re-energised. Call it the Disclosure effect.

O’Neill’s sixth sounds both settled and intensely familiar, with the sense little time has passed since 2009’s ‘A Ways Away’.

It has the pomp and arrogance of their best work, enough new sounds and interesting new avenues to satisfy the musos and, at its core, is a very good collection of very good songs played very well. A little more silliness would go a long way, though.

While the guitars are grimier and the drums hit harder, Pins haven’t totally smothered their sound in engine oil.

Business-as-usual has rarely sounded this beautiful.

As intelligent as it is ferocious. [31 Jul 2004, p.40]

This is a lovely record. [12 Mar 2005, p.58]

Green Language is an adventurous, enthralling, emotional and frequently brilliant album, then. And yet, from an artist of such rare talent, it’s also a frustrating, slightly underwhelming one.

It’s a self-important album, but an accomplished one.

Epic guitars, crashing drums and intense keys--it's a dramatic record that will shake your bones.

The subtle, sleepy, silkily textured likes of 'Pity Love' and the spry, sly 'Just To Make Me Feel Good' are a sweet breeze.

‘Ways To Phrase A Rejection’ proves the four-piece do a good enough job of recreating the kitchen-sink narratives of the era, but where they really excel is when they slip back into the 21st century.

Skeleton's only real weak spot: moments of genuinely inventive instrumentation and musical ambition are in abundance here, but somehow the songs feel less than the sum of their parts.

Where he once seemed like a busking Rodney Trotter, he’s now left the loser affectations behind and is more like Del Boy, a man aiming for bigger and better things and becoming a national institution in the process. Lovely jubbly.

No surprises here, but it’s hard to fault Kannberg’s strongest solo album yet.

Majical Cloudz may be dark, but there's light poking through.

So We're New Here isn't exactly groundbreaking, but it showcases a producer so in love with the music of now that he not only preserves the power of his source material, but makes it more relevant.

History has rarely been so engaging.

Truly, Weller's back. And this time, he rules.

The Sounds pick up where White Rose Movement faded out, with their melange of sussed Scandi cool, new wave pop pout, and Killers-style synth mayhem.

Having distanced themselves from the E-word long before it became fashionable to do so, Chase This Light sees them outgrow it.

Noctourniquet's greatest strength--or, to hardcore prog-trolls, its unforgivable weakness--lies with its melodies.

At 32 minutes it’s brief, but not without its thrills.

Another set of unassuming Americana. [19 Mar 2005, p.59]

A mini-classic of magpie pop. [21 Jan 2006, p.35]

You cannot deny that these records – ‘Iceman’, in particular – are some of Drake’s strongest work in a while. The trilogy doesn’t restore Drake’s invincibility, but beneath the spectacle and the streaming bait is an ageing superstar still stubbornly clinging onto his crown with both fists.