["Knife In The Heart" is] one of the most entrancing bops she’s made in years. .... Here’s hoping she’s got at least another round left in her.

It feels like the ravishing opium dream of a Victorian gentleman explorer, trying to recreate the exoticism of a long trip abroad through a prolonged period of narcosis.

We should all count ourselves lucky that that role fell to a man willing to be this open and viscerally honest, and to translate it into music that salves the soul.

While there are a couple of tracks here that are close to filler, Delphic have proved that they are adept at This Kind Of Thing, which is cause for celebration alone.

Downsides? There really aren’t any. Mount has done it again. He could write music about the impact of Brexit on the UK’s trade with China and make it sound amazing.

Across Forgiveness there's countless reminders of why you loved BSS.

He’s an impossible person, by all accounts--especially his own--but also an exceptionally expressive songwriter.

A record like a deep gulp of cold air on a clear, bright morning after.

While the intimacy of the songs makes this a challenging listen, there is a humbling bravery here.

Artfully curated references see her picking and choosing from the best.

Quilt really shine when Anna Fox Rochinski, Shane Butler and John Andrews harmonise impeccably over the spooky melodies of 'Saturday Bride' and 'Secondary Swan'.

This album isn’t quite what we’ve come to expect from The Last Shadow Puppets, but that’s just how we like it.

There’s surely enough here to bag him some space under Rihanna’s umbrella-ella-ella.

If I Had The Blues But I Shook Them Loose is the band's Everest, not only do they conquer it with unassuming boyish romance, but they've also created the most poignant anthology of what it means to be young and restless in the city since fellow Londoners Bloc Party's "Silent Alarm"--though they're a lot less frosty than Okereke et al.

Crystalline, slick and glistening, this feels like the last piece of a puzzle slotting into place, the tying off of any loose ends. It’s the sound of a band operating firmly, and finally, in their comfort zone.

It suits them just fine.

Khan refuses to yield crossover hits like 2009’s ‘Daniel’ (only the frenetic rhythms of ‘Sunday Love’ come close) opting instead for a slow style of storytelling that rewards the patient listener.

Will shock conservative punk purists everywhere. [11 Sep 2004, p.57]

It’s the otherworldliness of 22, A Million that makes it soar.

‘Back To The Water Below’ feels like a return for Royal Blood. Honouring their gut, as Kerr said they did in the studio, has manifested fertile results for their band.

So strange, it’s fantastic.

These songs are the sound of joy, canned and compressed for your aural pleasure.

We’ve been overdue an election-year statement record from the trio, and ‘Saviors’ gives it a good crack. .... Of course, the record is a good romp too.

Togetherness is the force that continually grounds The Book Of Traps And Lessons despite the dystopian soldiers that march across its drenched landscape.

Where’s My Utopia?’ marks an outlandish yet assertive second chapter for Yard Act, going toe-to-toe with the peculiar world that we find ourselves in.

Returning with her sixth solo record ‘Bright Future’, the Big Thief frontwoman achieves a newfound lyrical self-assuredness here.

With Freetown Sound, he’s made something bold, challenging, uncompromising and overlong--an album, like the man who made it, that’s the sum of its parts and then some.

Being able to show so much humanity and versatility so early in her career is highly respectable and if this is a glimpse of the future, Nia Archives looks set to become an unstoppable generational talent.