Yes, ‘Vince Staples’ was a beautifully personal reflection from start to finish, but ‘Ramona Park…’ enriches the listener’s relationship with the rapper.

‘The Theory Of Whatever’ shows that – unless he chooses to hit the eject button for himself – Jamie T should be sticking around for a lot longer.

Scraping off the garage 
rock grit and disjointed sharp edges that characterised his 
previous album ‘Emotional Mugger’ for this definitive self-portrait, Segall scrubs 
up great.

'Capricornia' and 'Europe' thicken their debut's effervescent jangle to a rich lustre, and Morris' solo uke classic 'Tallulah' makes sending postcards of sausage-eating Germans sound as romantic as dinner on the Danube.

Absolutely stunning. [4 Feb 2006, p.29]

There’s plenty of furious bluster on the record – vocalist James McGovern sounds incensed on ‘More Is Less’, and ‘Feeling Fades’ remains a razor-sharp torrent of feeling – but maybe its most interesting moments come in the slow-burns.

Guiding you on a whistlestop tour of his life, community and resultant beliefs, the record serves not only as a statement of identity, but also an indication of the sprawling possible paths for his career to grow into.

As the album’s title implies, this is transcendent stuff.

Yes, ‘Viva Las Vengeance’ is a very different Panic! At The Disco album, but it stays true to their devil-may-care attitude.

If Bain’s lyrics are poised to pull you one way on ‘In The End It Always Does’, her voice and instrumentals yank you back in the other direction – it’s disorientating, dizzying and utterly intoxicating.

Specifically speaking, Elbow have retained their crowns as everyman kings.

A kind of urban folksiness runs deep through the record, and the strummed softness of ‘Would You Rather’ even features Bright Eyes’ Conor Oberst. The downbeat vibe is cut through by unmitigated banger ‘Motion Sickness’ but Strangers In The Alps is definitely album for the sad times.

Once given the time and attention it demands, ‘Warm Chris’ is the kind of album that will eventually take root somewhere deep. Its complexities mean that each listen holds new revelations, the record growing richer and richer over time.

‘God Games’ serves as a testament to their new era, one that sees them push each other out of their comfort zones and explore new ways to keep adapting their iconic sound, providing a grand and edgy comeback that is as fresh as can be.

By adding a decent dose of 2017 into her classic sound, Price creates something truly great.

This is a crisp, focused wobble through a primarily 'Philophobia'-derived set with drummer Dave Gow and bassist Gary Miller adding crucial propulsive qualities.

No great departure, rather 16 more tracks of campfire folk, quivering vocals and a brilliant baby's-eye view of the world. [25 Sep 2004, p.64]

It’s that sense of twisting bleakness into something that sounds thrilling is what makes the album so effective. Lip Critic take the horror of Kaser’s very personal trauma into something strangely communal and alive.

Before you even consider the sonic and melodic innovation paraded through the album there’s so much crammed into each of these fifteen songs (without any one of them sounding overproduced or cluttered) that repeated listening is a must.

This record heralds her as one of the most enticing acts in R&B’s contemporary canon, near-guaranteed to become a bonafide star in her own right.

Cooked up in a session originally meant to spawn a batch of B-sides, We Are Beautiful, We Are Doomed instead debuts 10 songs that outstrip LC!’s debut album at every turn.

As much fun as the big names prove to be – Thundercat’s turn on ‘Bowling’, .Paak on ‘Moon’ – it’s often more thrilling to hear DOMi and Beck go at it alone.

The hard-fought ‘My 21st Century Blues’ is unequivocally RAYE from start to finish.

America is a profound statement; splicing Fuck Buttons with Sigur Rós in a state-of-the-union address balanced between hope, despair and an accomplished collision of strings, brass, soaring choirs and beats.

Production here is crisper and warmer than that of the original, and Swift’s vocals are, understandably, more mature.

Often, fantastically, all at the same time.

Familiar but daring, ‘Heartwork’ is a dynamic, surprising and enjoyable adventure.

‘Positive Mental Health Music’ is chaotic and warm at the same time but there’s star quality at every turn. It’s not always comfortable, but this is a confident and brazen debut that channels emotional turmoil into something positive and familiar.