Fans will be thrilled to hear her sounding so playful.

Yeah, that’s 8 Diagrams--a knockabout set rather than a knife to the jugular.

Another fine fusion of volcanic arena-rock and cherry-poppin' slow burners. [9 Oct 2004, p.56]

Even when English Graffiti sounds like The Vaccines, it’s a kitschier, more colourful, hyper-stylised version.

Rollickingly great fun to listen to. [4 Mar 2006, p.31]

BODEGA’s most vital moments come when they lower their guard down and just let it all out.

Truly a master-class in beat-science from start to finish. [28 Jan 2006, p.34]

A collection of astounding anthems for a new tomorrow, made by the disaffected youth of today.

The future sound of 2012 is mating here with the current sound of Yates’ wine lodge, and quite possibly creating the sound of 2018.

Crutchfield’s vocals strain with emotion against the stripped-back instrumentation here often, the result feels like this is one of her most personal musical interpretations to date.

Marauder takes the punchy, warm sound of 2014 predecessor ‘El Pintor’ and folds in some much darker, more menacing flourishes.

Great Divide is a love letter to the power of music itself; earnest, yes, but as heart-warming a rock record as it's possible to imagine.

This dream team (two thirds Britney producers Bloodshy & Avant, one third Mark Ronson collaborator Andrew Wyatt) decided to take a step back and make an album 'as a band', rather than as competing knob-twiddlers. And it's worked.

Lostprophets are big and brash and brilliant. And this is rock'n'roll radio.

The actual music on Blurry Blue Mountain, however, is warm and enveloping.

It is also, perhaps more importantly, an album absolutely overloaded with spine-tingling, pulse-quickening electro noises.

Everyday Life regularly steps to the left-field, proving that Coldplay are more adventurous than they’re often given credit for.

The rest of it though, is soulful and intelligent where 'intelligent' is not exclusive to 'good beats and rhymes.' Which is what it's all about.

Beverly’s effortless indie rock debut is the result of a casual collaboration between honey-voiced guitarist Drew Citron and her occasional employer, former Dum Dum and Vivian Girl Frankie Rose.

Occasionally, Geography grows monotonous, but derivative it is definitely not. There’s something undeniably unique about the tone of Tom’s voice--precise yet effortless--and his guitar skills are prodigious.

Blue Roses, you see, is less Nash and more Bush, a dizzyingly beautiful set of delicate folk songs that sound like they’ve been sprinkled with pixie dust and reincarnated from some perfect bygone age.

Only the plodding ballad ‘Hurt Yourself’ fails to earn its place on the track list, and on the whole Death Magic makes a grander statement than its more rudimentary predecessors. It sounds like Health finally know what they want.

Consciously retro, sure, but more convincingly so than Disclosure and similar young bucks.

When they deviate into a treacly world of dub and shifting tones (‘The Channon’), there’s still a lineage, along with an identifiable personality.

Together, EL VY create an enthralling musical space where Matt Berninger can explore the idea of being Matt Berninger.

Some of 'Free The Bees' could have been recorded 40 years ago and some of it could have been beamed down from an orbiting space station 3,000 years further along the pipe than us. [26 Jun 2004, p.54]

Covers all the same ground as albums by Le Tigre, Liars and The Rogers Sisters in the space of one spectacular 45-minute burst. [12 Nov 2005, p.45]

Overall, Pure X’s immersive charm remains intact. Only ‘Rain’ betrays the heady sonics of old.