'Streetcore' shows he was still producing vital music to the end.

It’s improbably refreshing to hear musicians that were clearly weaned on Frank Zappa, Supertramp and ELO messing things up and having a laugh.

The Rapture may not quite be wholly heavenly, but they've made an album that's entirely admirable and often lovable.

Recalls the overwhelming splendour of the Go-Betweens at their finest.

This is heavy pop at its very best.

It's a bloody nice record, which may be damning them with faint praise but it's an area they've stalked out for themselves immensely likably.

Where they used to be more wild and interesting they seem to have mellowed with age.

A sprawling beast that's unexpectedly heavy on the instrumental front.

This is a record stuffed with fun and joy and magic for all the family.

This is a dog of an album, by anyone's standards, but if you play it next to 'If You're Feeling Sinister', which we did, then it is the sort of dog that shits all over the kitchen and has constant mange.

For Wu-Headz, this is the piece of the RZA puzzle we've been waiting a decade for. It's that important.

It must take a fair amount of skill and a peculiar single-mindedness to create something this consistently bland and tiresome.

A beguiling marriage of the electronic and the organic that, while perhaps short on tunes per se, bristles with engagement.

There's an abundance of softly slashing guitar, an air of sophistication writ indelibly large by its orchestration (with the string-laden weepie 'Epitaph' as probably the outstanding example), and, wrapped in Arnar's strong tones, there's more moodyness than you can shake a particularly angsty stick at.

A shining example of just how broad and brilliant electronic music can still be in the right hands.

'Fatherfucker' is one motherfucker of an album.

This is so so crap.

Obie is, underneath all Eminem's bullshit, a nice emcee, old school, so when Em gives him a beat with some soul, he comes through.

No one musical entity, or group in the world comes close to the sum of their parts.

Up there with the best debut albums of this, or any decade.

Now we see. It is all clear. DMX believes what they say in Def Jam board meetings. He actually believes that what Mr Budden and Just Blaze did earlier this year is what one should do in hip-hop right now - meaning, shout popular thug slogans over irritatingly OTT beats for an hour or so.

It is that love, devotion, and unfaltering belief that makes 'Permission To Land' such an essential listen, and such a joy to behold. It is the sound of triumph.

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

Basically, it's the album they'd always promised us they'd make; consider 'The Decline...' British Sea Power's entrance pass to the ranks of the truly mighty.

If 2002's 'High Society' found them honing their nascent pop sense then this effort finds the New York trio sounding almost too cool for their own good.

More difficult when played initially, you will find yourself becoming immersed in it, a generous reward for your initial endeavours.

An epic alt.rock symphony that takes the band’s trademark sun-kissed melodies and brass flourishes and melds them into something altogether darker and achingly beautiful. Unsurprisingly, it’s an approach that more than pays off.

His best album in over ten years.