Pummelling electro punk at it's finest.

'Silent Alarm' is no 'Franz Ferdinand'. In fact, listen to it with the words 'popular' and 'arty' in mind and its spirit is closer to the Manic Street Preachers' 'The Holy Bible'. [5 Feb 2005, p.49]

By balancing progression with consolidation, technology with tradition, MMJ have created a work of stunningly expansive ambition. [15 Oct 2005, p.36]

The result is an LP that feels more in sync with contemporary music than ever before. There are notes here of Oneohtrix Point Never, Clams Casino, and Tim Hecker. Crucially, though, Present Tense roams a landscape which couldn’t have been charted by anyone else.

The true masters have finally awakened from their slumber.

It’s a tightrope across a canyon down which many a pie-eyed baggy daredevil has fallen. Jagwar Ma make it look effortless.

It’s heavy, assured and profound--a terrific record alone, but also one that sits in the Sleater-Kinney catalogue naturally, like they’ve never been away.

Everything about this album boils down to escape.

Antique keyboards pulse, fretless basses thrum and a variety of voices echo in and out, underlying the trippy feel and making this pretty much the most scintillating and daring record of the year so far.

The Hum is all feel, no bullshit, and it truly gets under your skin.

Assembled by the album's main beat-peddling prodigy, Lex Luger, they showcase a masterclass in reductionism; juggernauts of hulking, bruising, brick-to-skull intensity.

Tribes have roared back fiercer than ever.

Origin: Orphan is the sound of The Hidden Cameras finally proving they can make records as wham-bam powerful as their performances, with deliciously sumptuous results.

A disorientatingly great mess of free-jazz, space-rock and voodoo swamp music. [10 Dec 2005, p.37]

The ore of modern Pitchfork rock is here, laid out in all its flawed-diamond beauty. For a canon so flagrant in its faults, Quarantine is all-but faultless.

This is one to file alongside 'American Idiot', 'Doolittle' and 'Nevermind' on your greatest US rock albums shelf.

This isn't just her finest album, but one of early 2012's best.

The Adams of ‘Love Is Hell’ has gone out to make an album that actually is classic rock ‘n’ roll rather than one that can simply impersonate it, and sound convincing. [Review applicable to both Part 1 and Part 2]

The wonder of 'Stars...' is how magnificently alive all this suburban angst sounds.

Just as Moz's stance as a one-man outsider army and ringleader of the tormentors is restated, so is his standing as the godfather of indie disaffection and despair.

'A Grand Don't Come For Free' is proof that 'Original Pirate Material' wasn't a happy fluke.

It's a third album that avoids all the pitfalls of third albums: introspective without being self-pitying, expansive in scope without being pompous, exploring new directions without disappearing up its own arse.

Ultimately, this album is the sound of the future.

It's genuinely surprising, beautifully wrought and announces TNP as one of the most powerful artistic forces in Britain today.

'10,000Hz Legend' is nothing like 'Moon Safari', then again it doesn't really bear a resemblance to much. Instead, it's a glowing, highly ambitious, quasi-concept album that sees Air spiralling off on a wildly idiosyncratic and brilliantly insane tangent all of their own.

'Yoshimi...' sets yet another benchmark.

So believe it: this is the real thing, no-one’s crying wolf, not even Alan McGee.

Within all the emotional turmoil, there's a lot for the listener to love.