It’s business as usual with the release of their spaghetti-mess fourth.

The star’s debut album shows plenty of promise but some filler, too. It’s not a masterpiece that will silence the haters, but it’s not likely to slam the brakes on her rapid rise either.

So exciting that it should come with a precautionary bottle of Prozac. [6 May 2006, p.33]

he may toy with everything from Detroit techno to dubstep, but Harvest Festival hangs cohesive.

A rather mousey, introspective record, awash with the wishy-washy sounds of shoegazing, and yet not without its precise, audacious moments.

This is Swell's most constricted, least dynamic album to date. All songs move along at almost exactly the same pace and there is less breadth to their vision both musically and emotionally.

It shouldn't work, but it does - perhaps, because, for once Albarn doesn't sound like he's trying too hard.

While there are blips in all areas of life - the possible existence of Bigfoot, the rich and strange wildlife of Madagascar - few things cast more suspicion upon the whole survival-of-fittest concept than the continuing career of Everclear.

Unfortunately, this is not only their weakest album, it's their most confused.

Over the course of a 35-year career defined by excess, reinvention and the occasional brush with genius, Primal Scream have made all sorts of albums, but not one quite like this.

This is a thrilling joy ride of an album.

'Black Mountain' is like a stoned friend with really good taste in music burning you a mix CD. [Jul 2005]

This third album is as good a guitar-pop set as you'll hear all year.

Heartbroken, but heavenly.

Weatherhouse properly uncovers Selway as a compelling songwriter.

There's going to be a hearty scrap between this lot, Muse and the Monkeys when album of the year time comes round.

Anne-Marie’s bold personality is finally given a chance to shine on a no-nonsense album that’s overflowing with chart-busting tunes and real world attitude.

She sounds more relevant on these songs than she has in years.

Much of the charm of The Deserters lies in the winter-blasted chime of Zeffira’s voice, and those frozen-hinterland soundscapes.

A Thousand Heys reeks of wrong-side-of-the-pond, washed-out lo-fi revival as much as the vocals.

There are ponderous moments later on, like the uninspired ‘Teenage Disease’, but this is a band who’ve found a second wind.

Sadly, TAI...'s surprise maturation isn't yet 100 per cent complete.

OK, their lightweight bossa nova songs grate, but when they go all funereal, you get great lines such as “We move like knives through scars on land.”

Ant's famous sartorial attention to detail doesn't extend to the music here, as experimentalism meanders into the bizarre and unlistenable.

First, the good news: 'Celebrity' is pretty damn fine too.... The bad news is that 'Celebrity' definitely shows signs of that discontent that all boyband members begin to feel after a while, and it's this which might well put some fans off.

Wait For Me, though, mostly confirms even cheap-sounding wallpaper remains, sadly, wallpaper.

Moondagger is a tune-rich excursion into lo-fi romanticism, with 'Parallelogram’s' multitracked vocals harmonizing over a groundswell of glockenspiels sharing DNA with Animal Collective.

Made In The AM doesn’t really change anything for One Direction; it's simply another slick set of pop songs designed to strike a chord with their teenage fanbase and win over a few older fans along the way.