As with each of his albums to date, Kiwanuka navigates the past and the present, skilfully making sounds and subjects appear both classic and contemporary at once.

Dylan's voice is the star. [26 Aug 2006, p.43]

‘That! Feels Good!’ is a maximalist tour de force of glossy pop sounds. A liberating collection that seeks to paint a three-dimensional picture of Ware – as “a lover, a freak and a mother”, as she sings on ‘Pearls’ – this album sees her embrace a Sasha Fierce-like alter ego in a celebration of dancing and female agency.

Quite frankly, LEGACY! LEGACY! is one of the albums of the year. It’s a confident and self-assured project that affirms Woods’ own place alongside the historical greats she praises.

It's a blessing that the surrogate mum to the hip-hop youth of America is out there pushing for sounds as deranged, commercial, newly kinetic, and socially risque as those licking your ears in 'X-tasy' and 'Slap! Slap! Slap!'.

Easily Mike and El-P’s best work to date, ‘RTJ4’ is protest music for a new generation; they’re armed in the uprising with a torrent of spirited rallying calls.

Conceptually, ‘La Vita Nuova’ is an astonishing feat – but even better than that, it also oozes an intensity of feeling that punches right in the gut.

From the raucous nu-metal to glittering R&B, ‘SAWAYAMA’ is an honest, genre-exploding self-portrait.

With a lust for life, the once-dark prince is letting the light in.

The five tracks on M3LL155X feel like parts of a whole, musically and thematically connected in a way you wouldn’t necessarily expect from a between-albums EP.

This is a band living up to their reputation as exhilaratingly free-spirited, not so much proving they deserve all the accolades and fervent fanaticism bubbling around them but demanding it.

‘I Love You Jennifer B’ is the product of a voracious appetite to find the gaps in between the familiar, a record emblazoned with such pristine, disorienting, unsettling originality that at first, you don’t quite know what to do with it.

A truly unique gem. ... The band have said they want ‘Heart Under’ to feel like the experience of driving through a tunnel with the windows down. Through deliciously inventive musicianship they’ve created something even more thrilling.

Ultimately this record – her best yet – is about finding a different kind of love: the quiet self-examination after the dust of a break-up finally settles.

With ‘The Passionate Ones’, he has honed his intuitive songwriting and production for an experience that is warped, welcoming and deservedly self-assured.

‘For Those I Love’ is not only an immaculate debut, but a beautiful record that speaks to anyone who’s ever loved and lost, anyone who might be mourning or just processing the days of youthful abandon, or perhaps those who need reminding that you can’t have shadows without the light.

This new record not only keeps up that 100 per cent strike rate of golden tunes, but also gives us their best release to date. It’s an album that represents huge growth. Their vocals are more powerful and emotive than ever. ... Like true Gen Z artists, they pull from an extensive palette of genres, but manage to make each – be it angsty rock or a return to disco-pop – feel like it’s a sound they’ve been honing for ages.

Crawlers reaffirm their place as one of the young guiding lights in British guitar music.

In trying to write an album for herself, she’s made one that will resonate harder than anything she's done before.

Combines her strengths with her evergreen knack of embracing the moment into a collection that exudes maturity and class.

‘Service Station At The End Of The Universe’ isn’t the mark of an artist finding his sound, but a confident, authentic trailblazer who knows his craft inside out.

When Wretch said ‘Home?’ would be “soul food”, he wasn’t kidding. It goes beyond that, becoming a testament to the strength of roots that refuse to wither and a promise that – no matter where you are in the world – you can always find a piece of home in this record.

Fizzingly fun, this third mixtape sees Chance finessing but certainly not hampering, his freewheeling nature.

Whatever this is, it’s jaw-dropping.

The result is an album that pulses with energy, one that’s not a dancefloor record in the traditional sense – we can’t see Diplo dropping any of these tracks into his inevitable socially distanced Las Vegas comeback set at some point in late 2021 – but one with an insistent groove woven into its 10 delicately emotive songs, which deal with love in all its messy permutations.

On the evidence of Chris--a deft and bogglingly-intelligent record, which somehow sounds blissfully effortless too--she’s earned her own place in the pop icon history books.

These songs offer a more adult and grounded perspective than ones like ‘Lone Star Lake’ and ‘Evil Spawn’; they’re about the person who feels like home rather than the one who gets your blood pumping. It’s a nice counterweight that feels emblematic of ‘Tigers Blood’ — it’s a burning fire, and it’s a warm summer evening at once.

A tour-de-force of production chops that reaffirms Grey’s established position as a key auteur in the future of her genre. More Black Mirror than Twin Peaks, ‘U’ is an intimate hyperpop record portraying snowballing isolation, a digital-age pop star’s yearning under the limelight of the techno-infused Anthropocene.