A freshly squeezed record with the pulp left in it.

It gives an alternative to Lipa’s super-polished pop take on the shimmying sounds of the ‘70s, feeling delightfully handmade as it struts through 12 sublime tracks that transport you out of the four walls of your home and into a world much sparklier, sweatier and fun.

An album of eerie, elusive beauty.

Webster’s evolution from her self-titled record is a delight to witness. The songs are more direct and lyrically she’s become a remarkable observer of the little things that make us tick.

Nao’s real flair, though, lies in embracing the old school and making it seem fresh. ‘Get To Know Ya’ and ‘DYWM’ both re-rub late ’80s soul and push it firmly into 2016 with crisp production and an effortless dancefloor feeling. More proof, if it were needed, that Nao--and her odd but addictive vocal--belongs up front.

Strange, out of time, unfashionable, eccentric, obsessed with found sound, full of boffiny tics and tricks. [24 Jul 2004, p.48]

Melodies bristle, harmonies surge, hooks fly dense as bullets in The Raid and Joe Keefe's lush stoner vocals trace out stories of neighbour-annoying hedonism, missing home and boozing and rocking all the way to the afterlife. Fun-drenched.

For all its flaws, 'Up All Night' bristles with passion, energy and, most importantly, amazing songs. [26 Jun 2004, p.53]

Though the guests form a great deal of the fabric of the album, they do so on Battles’ terms, firmly entering their universe. No guest – not even Shabazz Palaces’ flowing verses on ‘Izm’ – steals the show. ... An album – that indulges the weird and wonderful side of Battles while also, simply, giving the people what they want.

While the band's long-standing interest in songs about monsters, vampires and zombies is absent, Fair's yelps of enthusiasm and lightning-strike guitar could wake the dead.

‘Welfare Jazz’ sees them sidestep any so-called second album slump. There’s no huge reinvention of sound – except for some country-ish sounds, typified by the Conway Twitty and Loretta Lynn-style call-and-answer ‘In Spite Of Ourselves’, a punk hoedown with Amyl and the Sniffers‘ Amy Taylor – but a definite reinvention of mindset.

Overall, ‘I Told Them’ is not only more memorable and focused than its expansive predecessor, but it’s his strongest album yet.

For all its occasional lack of bite and drama, Halcyon Digest's tender, transgressive pop proves a fine and focused addition to a uniquely haunting body of work. Cherish it like you would a phantom limb.

For now though, this is a very fine record. Not Herculean exactly, but certainly something that NME loves.

Sonik Kicks is the sound of Paul Weller growing old the only way he could--not particularly gracefully, but with no small amount of style.

Fully fleshed out pop songs with endless charm, if this is what living in the moment sounds like, it suits her.

They can still write the most incredibly beautiful songs. [23 Oct 2004, p.49]

There are subtle nods to what’s come before, but for the most part, this record sees Morello adapt with the times to create a record on the cutting-edge of a genre often afraid to evolve.

Hebden has recalibrated his sound to something darker and more rhythmic, without losing a note of melody. [21 May 2005, p.66]

They’ve pitched their comeback between an emotional exorcism for Homme, but with enough fan-service for the die-hards; this is up there with their darkest, knottiest material to date, and will be appreciated all the more for it.

‘TILT’ is a record that proves that campness and ridiculousness doesn’t have to come at the expense of real depth.

This love for dramatic highs and muted lows on this album makes the record a rollercoaster of emotions and sounds, and a polished and entertaining debut.

By now, it should be clear that this lot know how to pen a whopper of a pop anthem – that remains apparent here – but more crucially ‘MUNA’ also serves as solid evidence of a band with many more chapters of evolution up their sleeves yet.

He's made one of the best British albums of the year--that's why he should be feted.

Hardcourage steps on from the broken UK garage rhythms that typify much of FaltyDL’s earlier work and into the sort of soulful, pleasurable house grooves occupied by the likes of Four Tet and Jamie xx.

There’s also clarity in the lyrics--some of his most direct yet.

The likes of highlight ‘Ruby’ and ‘Step Into The Cold’ are gloriously faithful nods to their influences, executed with enough dedication to the head-music revivalist cause to make them far more than mere pastiche.

It’s clear that the members of MICHELLE are moving forwards together in search of something new, but are grateful to be in no rush to find it.