It’s sonically brave and lyrically obstinate, a rare delight that stands out from its counterparts.

It’s a beautifully crafted album, with Orlando’s lyrics their strongest ever.

It’s a moving and important work, and one that reminds us why MNEK is the pop star we need in 2018.

His debut lives and breathes the Deep South, from the Chuck Berry references (most effective on opener 'Violent Shiver') to the slower, more hushed tones of 'I Thought I Heard You Screaming', which sees Booker take his vocal cues straight from Bobbie Gentry's late-’60s peak.

A sublime farewell from the millennium's finest synth act.

You can’t help but hear Burton’s confidence growing across the album’s running time, his potential still untapped and with room to grow. In this latest soul revival, there’s no denying that Black Pumas are at the forefront and on the prowl for more.

Swathed as it is in the kind of ’80s arrangements of flutes and chiming guitars that have rarely been allowed beyond Carol Decker’s lushest, most velveteen fantasies, this album is an open goal to accusations of trend-following revivalism. But, like Ladyhawke’s debut, the sheer quality of songwriting justifies any retrospective leanings they may have.

It’s easy to simply pore over Savage’s frantic wordplay--which peaks when evaluating kebab-wrapping techniques on ‘Berlin Got Blurry’--but the music is equally brilliant.

Sounding more like Animal Collective than The La’s, in these times when one wrong move is seeing bands of Kasabian’s stature sink like stones, it seemed a brave comeback.

A brilliantly disquieting debut.

We would have liked to have heard more lead vocal from the uniquely talented Cedric, but this is a small quibble when we're talking about the soundtrack to dancing like your life depends on it in 2011.

Unlikely to sway anyone not already on board with Richard D. James’ weirdo-funk, Collapse is nevertheless a brilliant, warped addition to a canon like no other.

The glammy, foot-stomping country bounce of tracks like ‘Greedy Soul’ make sure this isn’t a hoary dad-rock indulgence, but a totally 2017 rock record with its sights set high.

‘Time Skiffs’ is a gorgeous, exploratory album, containing some of the greatest creations this curious lot have turned in for years.

['Savior Breath' is] such terrific fun, you can't quite fathom how the same band could be responsible for something like 'Iron Rooster', which moseys on far too long and a little too close to Neil Young's 'Old Man' for comfort, but normal service is thankfully resumed with 'The Neverending Sigh', ensuring the record ends on a fittingly-thunderous note.

Fortunately the ponytailed Dane has a distinctive voice that’s both tough and vulnerable, and enough personality in the four tunes on her debut EP to stand out from the crowd.

Perhaps V made us wait for this one, but it was thoroughly worth it.

In general it pays to avoid electronic producers with dreadlocks, but let Sumach 'Gonjasufi' Ecks be your exception.

The record isn’t as cohesive or experimental as ‘Caution’, it’s not a big musical transition moment like ‘Butterfly’ was, and it’s not as viral-worthy as ‘Memoirs Of An Imperfect Angel’ – but it’s still pretty darn good.

By turns dark, funny and heartbreaking, the songs on 'Original Pirate Material' are snapshots of ordinary life as a young midlands resident, set to innovative two-step production.

The band's best album yet - which is to say that it contains considerably more than three good songs.

Elegant and unusual, this is a gem.

Despite questionable lyrics, it's a much more cohesive album. [8 Jul 2006, p.41]

They respond to the challenge [to engage politically] in explosive style to deliver something like their defining statement.

‘Raw Honey’ has the air of a great lost album from the ‘70s, with lush instrumentation that falls between Crosby Stills & Nash and The Eagles, yet also boasts the crisp production of a modern-day studio.

It’s a smart, self-aware and compellingly imperfect record with a pretty unique point of view.

Geneva blossoms into an evocative, inspiring album.

Hopefully, listeners who have had their tastes whetted by Cat's Eyes and the cult Italian Beat At Cinecitta compilations will fall in love with this entrancing and gorgeously out-of-step album.