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.

As it turns out, Love This Giant is completely out of kilter with what's contemporary, and off-the-hook brilliant to boot.

A monster of a record. [4 Mar 2006, p.31]

Complex, original and even sincere, it’s a brilliant new departure.

Shrines is a euphoric treat in its own right, made all the more thrilling by its heady potential.

'Take Them On, On Your Own' is a masterpiece. You should get hold of it as soon as possible.

This is cold-blooded revenge pop that strikes like a shard of shattered plate to the heart.

A joyous surge of drums, guitars, wild brass and potent Spanish-English vocals from powerhouse frontwoman Victoria Ruiz.

The doomed relationship cycle in eternal motion or the sound of a heart that won’t stay mended, Honeyblood is visceral pop music giving its prettiest snarl.

The Go! Team's eclectic soundclash makes us feel deliriously dizzy. [11 Sep 2004, p.53]

Lyrically lucid and sonically exciting. [11 Jun 2005, p.67]

The spontaneous sounding arrangements--topped by Watson's uniquely mercurial voice--are at turns ornate, grand and subtle, but never less than totally bewitching.

The good--no, the astonishing--news is that this constantly engrossing record repays a decade and a half's faith and patience. D'Angelo has scuttled down the digital chimney with an early Christmas gift with long-lasting rewards: not just one of the best records of 2014, but one that will stay with you throughout next year, too.

Glasser's glowing debut offers more melodic and emotional consummation than almost any of her peers can muster, poised in a genuinely transcendent golden balance between the stern, the spacious and the gaudily sparkling. A very precious Ring indeed.

Written around the time Tillman got hitched to this girlfriend, it's a hugely ambitious, caustically funny album about the redemptive possibilities of love, and being heartily sick of your own bullshit.

The Great Pretenders is an emotional, emboldened triumph.

It's like the best bits of every extreme metal subgenre: a deathly crossover of sludgy, blackened thrash that will put hairs on your chest.

King Night is sick. Not just in the sense that it's outstandingly good but in the fact that it seems extremely unwell.

This isn’t so much a progression as a rebirth.

It’s lyrically dark and has the musical aggression to back it up.

Burke delivers as pure and proper a record as you'll hear all year. If you've ever laughed or cried, you need to hear this.

Recovering emos Brand New have taken doing things their own way to the point of invisibility, but their journey into the widescreen ether continues with yet another breathtakingly accomplished record.