‘Harry’s House’ is undoubtedly Styles’ best record yet and presents a musician comfortable and confident in what he wants to create right now.

All in all, this is merely promising rather than masterful. [14 Oct 2006, p.35]

Their jaunty Americana morphs from something lovely into something utterly essential.

There’s almost something for everyone on Dose Your Dreams, and, thankfully, that eclectic aspect to Fucked Up’s most ambitious project yet means it leans more towards opus than hopeless.

Tracks like 'Torture' borrow far too liberally from A$AP Rocky's cloud-rap aesthetic to be considered original. But otherwise, Old is a perfect example of why 2013 is a very exciting time for hip-hop.

The impressive ‘3.15.20’ [is] well worth the wait.

These are some of the most interesting and sonically varied songs of her entire career.

Konnichiwa is a landmark in British street music, a record good enough to take on the world without having to compromise one inch in the process.

When icy guitar turns ‘Pay My Debts’ into one of Van Etten’s darkest songs yet, Van Etten’s wounds feel incredibly raw.

Tempest is a relentless exploration of bleakness.

If ‘All Mirrors’ took you to a lavish, creaky ballroom, then ‘Whole New Mess’ tucks you away in the cupboard under the stairs, the door slammed tightly shut.

This is the side of Jack White III he's happy to show the world right now, and it's absolutely fascinating to behold.

Sounds as if it were recorded on one perfectly wasted afternoon. [22 Oct 2005, p.43]

Bass, horns, strings, organ and choir provide the backbone, and when Whitney allow themselves to kick it up a gear and really let rip, as on ‘Golden Days’ (with its cathartic “Na na na” outro) or the George Harrison-meets-The Band magnificence of ‘Dave’s Song’, they’re untouchable.

The resulting remixes and medleys, as heard on equipment that probably costs more than your house at Abbey Road, could make you weep with joy. It may not sound as good on a common-or-garden stereo, but you'll still mist up a bit.

Ultimately, this album is the sound of the future.

This urgent and important record will ensure the veterans don’t get lost in the shuffle.

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

Open Your Heart is breezier and more tuneful than its predecessor, but this is very relative.

Skeleton's only real weak spot: moments of genuinely inventive instrumentation and musical ambition are in abundance here, but somehow the songs feel less than the sum of their parts.

It can be a taxing eardrum workout--its beefed-up guitar work (from Walker, Stu Mackenzie and Cook Craig) and jackhammer rhythms (drumming duo Michael Cavanagh and Eric Moore) barely let up. But it’s also loads of fun.

The best moments of the album come when the band get candid about their hardest experiences, all the while leaning into the driving, raw rock sound they were known for.

Saturn is full of beautiful, intricately unique songs that could never be imitated.

It's every ounce of Idlewild's potential fulfilled at once.

Hot Sauce Committee Part Two is undoubtedly a good record. It's just that in the Beasties' case, merely being good doesn't seem, well, y'know, good enough.

These songs contain the record's protest element as well as its exemplary musicality: heartbreaking soul choruses, classical samples and '80s rocksteady rhythms.

If White Men really recalls anything, it’s those early TV On The Radio records made before Dave Sitek had figured out what he was doing--and you can take that as a sincere compliment.

On ‘An Evening With Silk Sonic’, the magic is in the way that the music moves: the songs are radiant and full of joy, formed from the synergy of two relentlessly creative minds. The album glows with appreciation for the simple but irreplaceable power of working alongside someone you trust and respect like no other — and it sounds as effortless and rewarding as an old friendship.