This is wild music, a celestial cabaret that absorbs and unsettles.

An album of eerie, elusive beauty.

In Masseduction we already have both Dorian and his portrait: the fox on the album’s cover, all rampant neons, stockinged legs, and taut flesh, and the inner ravaging--material just too good to keep in the attic.

When positioned against their previous releases, ‘Formula Of Love: O+T=˂3’ paints a picture of a masterful act, one who has learned to wield their talent and concept into one cohesive banger after another.

Dear Science cuts through genres like a laser through a music encyclopaedia, making strange connections, but always with pop clarity as the ultimate aim. As ever, Sitek’s production shines.

The production throughout is nothing short of exceptional. With the full backing of an orchestra, there is a richness to the sound overseen by seminal producer Inflo. Their chemistry is apparent throughout as the vocals and production coil around one another egging the other on to new heights. ... It’s not hyperbole to suggest that this canonises her work forever, elating her to be one of the greats.

Lyrically, then, it’s a record characterised by its pessimism, yet musically it’s among their most joyful.

Odd, addictive, unsettling and beautiful. [8 Jul 2006, p.41]

The record stands as an all-encompassing culmination of Tyler’s ever-varying sound, showing that growth isn’t always linear and that artists can be a multitude of things. On ‘Call Me…’, Tyler cements his place as a generational talent, one in fine form and continuing to push the boundaries of his vision and kaleidoscopic sound.

She might not want a pedestal, but there aren’t many songwriters who’d make better use of it.

There’s tonnes of fun to be had from absorbing the duo’s fury, and El-P’s sci-fi beats are as thrillingly big ‘n’ bad as ever.

PJ Harvey's best album since 1991's 'Dry', a return to the feral intensity of that remarkable debut.... The clarity of the electric guitars played by Harvey, Rob Ellis and Mick Harvey is enough to make you fall in love with elemental rock all over again.... You could quibble Harvey has absolved her responsibilities by making an album earthed in the New York sound of 20 or 30 years ago. But when rock is so invigorating, so joyous about love, sex and living, all arguments are null and void.

Bits of it rule.

Just as on her recent EP of ’80s cover songs, ‘Aisles’, Olsen approached the decade’s tropes with care, and at no point does ‘Big Time’ descend into parody. Though it uses them in the same way those aforementioned greats did, to access the deep and real emotion at a song’s core and open it up to her listener as something irresistible.

This is a smooth, sleek band with their eyes on a bigger prize and they undeniably lose something in the process.

Prince: Originals is at its best when Prince lets loose and embraces his cheekier side. ... Although the camp synths and indulgent guitar solos present on a lot of these tracks are clear by-products of the decade that gave us cone bras, Super Mario and The Goonies, this music also sounds prescient.

Everything from psych-jazz, electro-funk, soulful house and the occasional rocker gets a look in here. In lesser hands it’s a right old mess, but not in Howard’s.

Elegant and elemental, quietly confident and masterfully understated, Designer feels like a breath of fresh air in a time dense with noise and algorithmic hiss.

By its close, FKA twigs is an unstoppable force of nature.

A powerful synthesis of past and present, ‘Letter To You’ shows us the strength that can be found in sorrow. The result is Springsteen’s finest album since 2002’s ‘The Rising’.

While this is clearly not the record Smith intended to make, it's still an immensely gripping and cohesive piece of work. [23 Oct 2004, p.47]

By its close, 'The Blueprint' has eloquently mapped out life's foundations: laughter, tears, joy and pain, and has marked the Jigga as the complete rapper.

Even when things get musically darker on the shimmering alt-pop of ‘Posing In Bondage’, there remains a prioritisation of pop melody; the fat is trimmed from all 10 songs on the record, leaving perfectly formed three-and-a-half-minute pop songs that want – and deserve – to be blasting out of your radio.

Once again, SAULT demonstrate the power of words and just how impactful music can be. It’s impossible not to feel affected by the stories being told. But, despite ‘Nine’s sadness, SAULT channel optimism and hope for a brighter future into their songs.

It may be titled From Kinshasa, but this record could easily be from the future.

Sonically, it was staggering.

Undoubtedly the one Sleater-Kinney album that everyone should have. [21 May 2005, p.66]

[A] brilliant album.