It may sound simple but it's devastatingly effective.

It’s his masterpiece so far; a staggering collection of unspeakably precious music.

One of Sufjan’s most fat-free and consistently stunning records, but also his darkest.

It’s heavy, assured and profound--a terrific record alone, but also one that sits in the Sleater-Kinney catalogue naturally, like they’ve never been away.

What it most successfully captures is stasis, and an undercurrent of anxiety around what lies in the future. The LA songwriter’s ability to paint this lingering feeling of dread so vividly is perhaps the biggest factor in her rapid rise to cultish indie household name.

‘Now That We Don’t Talk’ is the Vault firecracker. Not only does it fizz with ‘80s influence, but Swift’s versatile, honeyed vocals are stellar. .... The sweeping, evocative storytelling of ‘Suburban Legends’, meanwhile, calls back to the evocative detail of Swift’s previous eras, including mentions of mismatched star signs, class reunions and a ’50s gymnasium. ‘1989 (Taylor’s Version)’ feels more symbolic than her previous re-releases.

Deftones’ 10th album is a gift for fans old, new, and certainly finding them in the very distant future. Their peers can’t touch them.

Seriously brilliant stuff. ‘Send Them To Coventry’ promises that Salieu is unbelievably gifted with a ceiling nowhere in sight. He carries the entire mixtape with his singular voice oscillating between conventional rap flows, dancehall toasts and ice-cold venomous lyrics.

By turns dark, funny and heartbreaking, the songs on 'Original Pirate Material' are snapshots of ordinary life as a young midlands resident, set to innovative two-step production.

The recently-liberated star rarely misses on ‘Afrikan Alien’ – aside from ‘Soda’, which is a poor attempt at jumping on the Afro-piano wave. But, from showing off his surprisingly angelic vocal chops on ‘Round & Round’ to delivering introspective gems birthed from his self-reflection, this tape is an enchanting glimpse into the inner workings of the rapper.

The choices and the arrangements on ‘The Land is Inhospitable…’ are some of Mitski’s most complex and richest, yet they translate to such simplicity, a statement that there is pain and love and that’s it. Those are the ingredients with which we make everything.

A potential future classic.

It’s a shimmering, mournful gem.

For those of us who still believe in music's power to redeem, 'Funeral' feels like detox, the most cathartic album of the year. [5 Mar 2005, p.49]

Even aside from the tragedy that frames its arrival, though, it stands up as Architects’ very best album. ... Architects have emerged more powerful than ever--building on Tom’s legacy, rather than riding on its coattails. It’s a wonder to behold.

‘Yesterday Is Heavy’ is a bold and inventive step forward from an artist who has been threatening to make this kind of artistic statement for some time.

He might not be the steeliest careerist, but the lad from the Wirral has clearly thrown everything at this masterful record.

What's finally made it is an expansive, guest-packed 57 minutes that recall the Southern hip-hop bounce of 2003's 'Speakerboxxx', but with an added twist of maturity.

In exploring himself on Psychodrama, Dave has produced a masterpiece. This 20-year-old has lost in some ways and won in others, and asks us to listen as he tries to find some answers. The lessons you learn with Dave are sure to live long in the memory.

The result is some of the most pristine songwriting Bridgers, Dacus and Baker have ever penned. ... This debut is a gorgeous testament to what can happen when you allow yourself to fully be seen.

This is a brave, vulnerable and ambitious work that asks us to recognise and celebrate our own grey areas. It’s an album full of possibility and startling scope, and which, ultimately, finds peace among the pain.

The angriest, least compromised, most utterly justified pop record in years ?

‘Modern Slaves’ is the only track that reflects the mournful suggestion of the album’s title, its lament of choral voices accentuating a lyrical pain over music that is gently insistent and quietly furious. More often, ‘Funeral For Justice’ is ablaze with energy.

By balancing progression with consolidation, technology with tradition, MMJ have created a work of stunningly expansive ambition. [15 Oct 2005, p.36]

Clark’s readiness to be freakish and alone has translated into her songwriting, which is bolder than ever, and out to connect.

Cranking the urgency and confrontation of last year's self-titled debut to neck-breaking intensity, RTJ2 is an urgent, paranoid album for a violent, panicked time.

Soul music full of remarkable sonic ideas.

'Since I Left You' is proof that while being a vinyl junkie might not make you a teen idol, crafting a joyous, kaleidoscopic masterpiece of sun-kissed disco-pop definitely will.... Cool? Sure, whatever. Brilliant? Undoubtedly.