Gibbs’ coarsely inventive flow works perfectly with Madlib’s imperfectly human beats.

Cherry Bomb might be the tightest, leanest Tyler album yet.

‘My First Album’ is an impassioned and idiosyncratic patchwork, one which paints a portrait of anxious and wistful personhood that is, on the contrary, definitive and assured.

Amidst all the experimentation and extremes of this impressive album is a message about life: bathing in the moments of ecstasy will ultimately enable us to cherish and value life more.

Expectations isn’t flawless, but it’s a compelling re-introduction to an underrated artist--one capable of putting her own stamp on current pop sounds.

Like a vintage Bordeaux, it slips down a treat (aside from lamentable ‘Peanuts’, which gets stuck in the throat), but the moments of oddness whetted our palette for more.

Album two demonstrates Lewis’ growing confidence as a frontman in the spotlight – long may it continue.

Pond’s fifth album, Hobo Rocket, bristles with unrestrained creativity and sonic exploration, while verging away from pastoral prog towards a harder garage blues slant.

Occasionally subtlety spills over into insipidness, but overall this is a masterclass in restrained beauty.

After all these years, the songs still stand up, even in a different dimension. ‘Black Stallion’ can either be listened to as the twisted inner monologue of a masterpiece, or a standalone rattling gun of gnarly and weird electronica.

Gives up its delights slowly and not without a wry smirk along the way. [11 Jun 2005, p.66]

Truly a master-class in beat-science from start to finish. [28 Jan 2006, p.34]

'Sticks & Stones', 'Memory Room' and, oddly, the title track add slivers of graceful light to this bleak but captivating collection of noirish tales.

Sounds as hideously vital... as [Slayer] have at any time during their 23 year career. [26 Aug 2006, p.41]

Peppered with hip-hop connections (E-40, Ghostface Killah, Freeway), equally informed by raw Chicago house and the riff-worshipping of Jesse’s previous (DFA 1979), and finally free of the omnipresent vocoder, it’s near-essential stuff.

The blanket of noise is provided by her male cohorts, but the lynchpin of PP’s allure is undoubtedly Meredith, another artist key to redressing the great gender imbalance that never goes away.

A new, added tunefulness makes this a much-welcome Exile In Nihilist-ville.

Despite the rock, you can still dance to it. [Review of U.S. version]

There's depth, sincerity and beauty in abundance here.

[A] ladyfolk wonder. [30 Jul 2005, p.49]

‘Wachito Rico’ exudes a breadth of musicianship that proves Boy Pablo is no flash in the pan, despite having found viral fame overnight.

Packs melodic punches with its killer Wilson-esque tunes. [18 Dec 2004, p.51]

At just 11 tracks and 27 minutes long, it’s concise by West’s standards – the days of sprawling masterworks such as ‘My Beautiful Dark Twisted Fantasy’ and ‘The Life Of Pablo’ are perhaps behind him – but there’s density and focus throughout.

It’s minimal without being clinical, catchy without being clichéd and, thanks to the influence of MBV and Neu!, full of sonic left turns.

Lynn throws things back even further with a spirited version of ‘Keep On The Sunny Side’, written by Ada Blenkhorn and popularised by hillbilly originators – and two-thirds female – the Carter Family in the late 1920s. There’s new material too, but the message is always the same, with the focus on women’s innate strength and capabilities.

‘Typhoons’ is not only their best work to date, but all the better for Royal Blood being free to explore what they’re capable of.

Distortion is above cynical reproach--effortlessly modern and definitively 2008, yet flitting with the ghosts of Shields, Madder Rose (ask your 90s alt.indie expert uncle) and The Jesus And Mary Chain.

Every day is Halloween with Creeper, in the very best way.