‘Miss Colombia’ is an impressive, experimental collection, filled with complex, crunching production and romantic lyrics that recount love and loss. Mixing the old and traditional with modern elements, it’s a powerful statement of Lido Pimienta’s innovative creative vision and Colombia as a whole.

Crisp, rolling rap beats and lush instrumentation. Lyrically, ... she's brutally honest about sex and her failings with men. [11 Sep 2004, p.55]

45:33 is loads of fun, a satisfying folly that's as central to an appreciation of "Sound Of Silver" as the lyric sheet.

With ‘God Save The Animals’, these genre-resistant idiosyncrasies remain, though a few moments shine through with newfound clarity and vulnerability. Across the diverse and consistently excellent 13-track record, he hops between styles, perspectives and energies with abandon.

These five Dublin lads prove their talent for painting in far more colours than just blacks and greys, and Fontaines D.C. have proved their worth as one of guitar music’s most essential new voices.

If he carries on writing songs as deliciously sour as this, dance music will end up needing to be saved from James Murphy, not by him. [22 Jan 2005, p.50]

He may have started out as the quintessential angry young man, but he’s become a textbook study in growing old gracefully--by doggedly refusing to stay set in his ways, Paul Weller keeps finding new ones to surprise us.

It makes for a frequently breathtaking companion to ‘Take Me Apart’. In a debut album which was all about breaking down, ‘Raven’ reminds us of what it means to be put back together.

Porridge Radio nail some of music’s hardest tricks – breathing fresh life into indie and making a record that can loosely be compared to other bands in fragments, but also feels entirely their own. ‘Every Bad’ is a breathtaking step up from their bedroom-recorded 2016 debut, ‘Rice, Pasta And Other Fillers.’

Picking us up where the laptop prof's 'Los Angeles' debut dropped us for another nocturnal journey through LA that serves as a moody, widescreen, be-bopping riposte to UK dubstep. Only this time it's a flashier ride.

It's a shotgun blast of cranked guitars, bruising hardcore and canyon-sized choruses, and it's mesmerising.

For all the strange twists and turns, the rich layers and dark beauty to be found, nothing here grabs you and sets up home in your heart like 'Veckatimest' did.

This is arguably Cocker’s best work since Pulp’s 1998 comedown record ‘This Is Hardcore’ and certainly a greatly promising start to his new chapter. Cocker remains in an entirely different class.

This pervading sense of control and commitment to her art proves that Twigs is set on building the sound of the future all by herself.

A sparkly, concise art-rock delight. [10 Jul 2004, p.47]

Krystal manages to be many things at once. It is often devastating, yet also darkly humorous – even in the most depressing circumstances, Maltese is able to recognise the comedy of it all. A step forward and a look back to where he came from, this is one of Britain’s most magical songwriters at his enchanting best.

In cutting some new shapes, this supergroup have been set loose to make some of the most arresting and satisfying music of their careers.

Thorny and tangled, this is dance music for drifting home from the club on deserted pavements; the moment of reflection after the euphoria fades.

The result is an LP that feels more in sync with contemporary music than ever before. There are notes here of Oneohtrix Point Never, Clams Casino, and Tim Hecker. Crucially, though, Present Tense roams a landscape which couldn’t have been charted by anyone else.

‘Kitchen Sink’ is ultimately rooted in the vague flicker of hopefulness and compassion that Shah embodies so often, and so skilfully; though it dispels the myth that it’s possible to be the woman who truly has it all, she embraces choice, rewriting narratives and multitudes instead.

Two empowering protest-techno-with-a-message juggernauts, ‘They Told Us It Was Hard, But They Were Wrong’ and ‘Megapunk’ mark a distinction and sonic evolution from the floaty dream-pop of 2017’s ‘Adapt’ EP and 2018’s rumbling club-driven ‘OK/‘So’. ... This debut harnesses the spirit and will to overcome forcefully and with inclusivity.

On this mini-album, Templeman’s far-flung influences are brought together more fluently than before. And more importantly, he appears in the throws of continual creative reinventions; he has every reason to be feeling pretty confident with himself.

At their best, the arrangements here feel like thoughts in progress, with Humberstone’s distinctive vocal speaking to the turbulent feelings that bubble underneath the surface of her songs.

This latest album is his most fully-realised yet. There may be no answers to be found on ‘Worm Food’ but who needs them, when there’s so much raw honesty, understanding and self-empowerment.

‘Loud Without Noise’ covers a lot of ground – including relationships, mental health, and social inequality – with the songs working on two levels. Minto often addresses an issue on a broader scale, while also tying it to personal experience.

A set of heartbreak hymns to sob come curfew time.

Some Rap Songs may be a brief exercise, but its ambition and the--largely successful--execution of its ideas demonstrate that the enigmatic Earl is as fascinating as ever.

Most of these 33 tracks are uptempo bolts of energy.