Factor in some brilliant shards of melody in songs like 'Clearing', 'Call Across Rooms' and 'Holding' and Ruins becomes an unexpected gem: that rare album that reels you in without even trying.

A relentlessly positive record that acts as an inclusive antidote for our increasingly divisive times.

Cocoa Sugar isn’t a filtered version of what came before. Instead, it cements their status as riled-up oddballs determined to reinvent the wheel.

Lyrically, then, it’s a record characterised by its pessimism, yet musically it’s among their most joyful.

A brilliant, invigorating reintroduction.

She may not have written the words, but Björk's emotional investment in songs like 'I've Seen It All' (really sad) and 'Scatterheart' (really really sad) is undeniable; making this album - 'in character' as poor, doomed Selma - totally seductive as A Björk Record.

Beneath The Eyrie is still arguably their most consistent body of work since their 2004 reformation and certainly their most inventive in 28 years. What a spooky surprise – that this incarnation of Pixies would turn out to be such a dark, dark horse.

Across a leisurely hour, the slow double bass pull of ‘Broken Wave (A Blues For Doogie)’, the deadpan spoken word and pattering steel drums of ‘Guy Fawkes’ Signature’ and the chatty lyricism on cuckolding regret ‘The Very, Very Best’ stand out, but it’s all golden.

He wields the Liverpool Philharmonic Orchestra as deftly as he did his spliff-stained six-string.

This is easily their most expansive work yet--a continued exploration of the beauty in brutality.

At 16 tracks ‘The New Toronto 3’ could be accused of being overlong, but it is an immersive experience, a deep dive into Lanez’s psyche.

36 minutes and three tracks of rich, enveloping, meditative heaviness.

Real Hair works like a oujia board: dangerous, addictive fun with the potential for unwelcome answers.

At its core, the record continues the thing that made them so exciting in the first place – chaotic, brilliant curveballs that capture the confusion and commotion of life right now.

Obviously this isn’t a ‘Definitely Maybe’ or ‘The Stone Roses’ – no-one could touch those hook-laden masterpieces. As a triumph of style and mood, though, ‘Liam Gallagher John Squire’ is well worthy of their enduring legacies.

There is a small sense of disappointment that we don’t get to hear Stormzy let loose on the mic more often, but then this record was never going to be a recreation of ‘Heavy Is The Head’ or ‘Gang Signs & Prayer’s proclivity for immediate grime hits. The hard-hitting lyricism is still present, though.

Metronomy Forever is, in many ways, remarkable: the band have proved their longevity and ability to reinvent, retool and still maintain their love and ability to pen stellar pop songs. We’re already looking forward the sequel.

Superb stuff. [23 Sep 2006, p.33]

It’s a bold move for The Coral to come out with something so intricate at this stage of their career, even taking the time to pen an accompanying book. But immerse yourself in this heavily themed epic and you’ll be rewarded with a nostalgic trip that showcases some of their most adventurous writing to date.

Every sentiment on Novelist Guy is deeply felt.

I Speak Because I Can remains a stunning performance to leave haircuts and ex-boyfriends alike trailing in its wake.

Bold, brash and brilliant, this is Charli XCX at her most genuine, and it’s dazzling.

This is the sound of the US underground realising that its message is easier to swallow if it has a smile on its face. [9 Oct 2004, p.56]

‘The Girl Is Crying In Her Latte’ is a reminder that even now, Sparks are completely content with boldly going first, taking their music into ambitious territory no one else has been before, making it easier for other acts to (hopefully) follow suit.

I’m A Dreamer is another stellar effort.

A slippery, intoxicating listen. The production and songwriting feel looser and more experimental, liberated from the weight of carrying heavy narratives or nostalgia. When elements appear unfamiliar, Vynehall guides them into similar worlds like he’s just cracked the next piece of the puzzle.

The world of ‘Beatopia’ is finally in full bloom again as its creator embraces not only the vibrant colours of their own imagination, but the magic of letting the world in to see.

It’s a David Byrne album. Which is to say: it’s melodic, goofy and very quirky.