[The lyrics] can also be so formulaic that you’ll almost wonder whether you’re listening to M3GAN. ... But at the same time, it’s hard to shake the suspicion that Max has fully understood the assignment. ‘Diamonds & Dancefloors’ lives up to its escapist title with a non-stop onslaught of sharp and shiny pop hooks.

At times, ‘In Pieces’ still stands as a fragmented version of the songwriter and producer’s talents.

Eloise’s attempts to gently push her sound outwards are admirable and promising. There’s a disquieting hint of sourness to the distorted layers on ‘Take It Back’, while ‘Vanilla Tobacco’ is peppered with moments of record scratching. They may be far from revolutionary, but the fullness of Eloise’s new vision vibrates in these tender details.

The generous would suggest this is the album Oasis should be trying to make; the cynical that it's a collection the Inspiral Carpets did make over a decade ago. [7 May 2005, p.66]

The rapper’s attention to detail is undeniable – but serving up a pile of rhymes, rather than full-bodied songs with snappy hooks, can be boring no matter how skilful you are. Even the star-name features can’t really lift this skippable sequel and its samey songs, which is a shame, given Benny the Butcher’s proven penmanship.

At less than two minutes, many of the songs remain as sketches neither punchy enough to work as snotty punk songs nor ever developed into anything more.

A smattering of other tracks aside (including the lush groove of ‘Getting Closer’ and the funk-jazz fanfare of ‘Love Is Everywhere’), this collection doesn’t fully provide catharsis nor connection.

Dismiss this as uninspired “dad rock”, or embrace it as a dad making the music he’d want to hear.

Some of it is awful. Some, notably 'Hide Away' and 'Lucky Day' are as good as anything on prime-time Stones album 'Black And Blue', which is saying something.

It’s honest, personal and wholly relatable. Rostam may have defined Vampire Weekend’s sound, but with Half-Light he begins to define himself.

There are standout moments--the aforementioned ‘Beloved’, the full-hearted chorus of lead single ‘Guiding Light’, the delicate tinkle of piano underpinned by a dog barking in the distance on ‘October Skies’--but you must sift through these sprawling 14 tracks to find them.

A sharper edit and this would have made a great EP.

Best enjoyed off your face at a festival and forgotten about the next day.

Stripped to the bare bones of her soul and the sentiment, her truth shines--and there’s a beauty in that. The only thing holding it back is a lack of risk, but there’s still so much comfort in the familiar.

‘Odin’s Raven Magic’s is built on incredibly specific foundations – the particulars of Norse Mythology and medieval Scandinavian poetry is certainly niche – so key aspects feel lost in translation without a hefty visual component or matching blurb. It feels less like conventional album, and more like a live piece immortalised on record.

Despite its underwhelming second half, ‘Barbie’ is packed with a surprising diversity of sounds paying homage to the Mattel muse. The soundtrack has some wonderful highs and some miserable lows – but then again, it’s not all rosy in Barbie Land…

This is a rock album for those whose idea of rock heroism is Red Hot Chili Peppers, U2, or maybe Muse if they're feeling a bit crazy. If that's you, you'll bloody love it. Everyone else will have to hope Example's evolution is just the beginning.

They’re out of step, out of time, out of place, and have completely gone off on one in their own strange little world; as such, there’s much to admire about The Bravery. Just never go down to Endicott’s basement.

Manages to contain enough surprise turns and twists... to keep you interested. [25 Jun 2005, p.64]

Cassius man's production is a deluxe weave of dreamy synths, biting snares, throbbing bass and warbly Vocoders, but it feels as if Chromeo are just doodling knobs over the top.

In truth, the majority of this largely monotonous second outing becomes a one-size-fits-all affair, and you’re left digging around in this hallucinogenic haze for a new high.

When it works, it works.

It’s a tender passing of the torch.

Gone completely is any passing trace of the grubby, US college rock that made them so beloved underground when the real world wasn't taking notice. In its place, is an awful lot of big, blustery ballads.

‘Always Tomorrow’ boasts a handful of punchy, promising songs but it’s frustratingly unambitious in scope. When the album treads old ground, the ideas are stale. Hopefully a bigger rejuvenation is on the horizon.

Kill This Love ... showcases a band who are certainly talented but perhaps not quite ready for the next upward arc in the ride they’re currently on.

For the most part, however, while never less than beautifully realised, there’s a sense that the record has more dramatic and intense potential that’s left frustratingly untapped.

They’ve taken finest pop moments of the ’70s and laid them out with all the retro flair of a fondue set.