There's precious little here not to like, and it's as satisfying an experience as any of the ambient survivors have produced in years.

A techno electro smart-ass punky rap thing that'll detonate in your living room.

To be honest this album has been down the pub all day; it doesn't care that you have to go to work in three hours time; it has just burst into your room and demanded the keys to your car and that bottle of Bombay Saphire you were saving for your birthday.

It's not quite the second coming or even the first for that matter, but 'Food & Liquor' should leave you feeling sated and occasionally elated.

'The King Of Nothing Hill' manages to effortlessly stir a Trans Atlantic cauldron of retro flavours, sleazy soul, avant-garde darkness, soundtrack cool, breaks, head nodding jazz sophistication and electronica sus.

Home recording gives 'In Case We Die' an apathetic politeness that lacks any real grrrrr, which is a shame.

'One Bedroom' is an infinitely pleasurable listen, and one that (very gently) blows away any post-rock preconceptions.

If Simple Kid is too simple for you, if you always liked Supergrass but never thought they pushed their material to its astral conclusion and felt their retro musings were a little too close to the original blueprint, then this baby, is for you.

We don't dislike anything on here, and each time we listen, we like what we hear even more.

Totally inessential, utterly inoffensive, yet truly beguiling, 'Son Of Evil Reindeer' remains a charmingly radiant record.

So, while this might not be Tricky at his total best, it may well be the best you're likely going to get out of him.

'Black Cherry' is a record that, like Lemon Jelly's sophomore effort, 'Lost Horizons', consolidates rather than defines but, when Alison gets her honeyed tonsils into the warm duvet-textures of the title track, the world can happily stand still for 5 minutes and we'll gladly give them another bite.

The good news is that despite the excess verbiage (which at least is hardly a shock), this is a Good Album.

With 'Ten New Messages' The Rakes have pulled off the knack of being able to deliver a series of songs that are longer and deeper but equally as memorable as the spiky missives spat on their debut.

Compared to their offerings to date 'Amber' has the hardest edges, but it wouldn't be Clearlake if it wasn't soft in the centre.

Even if this was an instrumental album it'd be thoroughly charming.

Their brilliance lies in writing the crassest, most obvious, lowbrow hooks.

His best album in over ten years.

It's a lot less dangerous than we've been led to expect.

'Hey People!' dashes past in such a whippy blur that it's far from immediately apparent what on earth to make of it, although if you suspect it'd be fun going back to find out we wouldn't argue.

'Everything Last Winter' is a record by a band blithely unconcerned about any perceptions of cool.

There are no real surprises here but then in the land of pop-punk surprise is not high on the agenda.

So, his best album since 'Scary Monsters' (ARRRRGGGHHHH!!!).

Despite the handful of duff tracks and a couple of absolute howlers, 'Here Come The Tears' is a fine album - certainly not the best they've made together, nor even apart, but accomplished, ambitious and often highly impressive.

'Imperial' is an evolving and ever-involving shard of artistry by a true original on his 'Victorialand'-era form nonetheless, and that's got to be cause for celebration.

There's nothing quite as immediate or fantastic as 'Disposable Teens' here, but the album on the whole is a triumph.

Yes, there is a lot in the way of failing relationship therapy on here, but when it's done with such eloquence and downright elegance it'd be churlish to treat it with the disrespect more easily afforded to music's legions of professional disenchanteds.

An astonishingly cheeky affair, and arguably less stylistically cohesive than any Orbital album since their underrated debut