It's incredibly pretty, but ultimately lacking in memorable moments.

These sky-surfing legends may have another great album in 'em yet, but for all its intermittently irie moments, Into the Future isn't it.

On most of these tracks, Minaj rises to the occasion.

Despite the spare instrumentation, there's no sense of repetition or lack of variety, and these emotive, excellent songs stay with you. A late contender for album of the year.

Hearing these songs in any format is a tremendous pleasure, and Hucknall here does them credit.

As fascinating as it is perplexing, anything but obvious, and therefore to be applauded.

It is beautiful and bereft and hard to listen to with easy joy--as are much of the best of these essential recordings.

Fourteen years later, this reissue reveals a record so unique and ahead-of-its-time that nothing else has sounded like it since.

It's the achievement of their fourth studio album that this giddy mix hangs together as an endearing whole.

These 10 songs often appear to be just elaborate jams, whipped up in the studio, with a few scribbled-down choruses added along the way.

It is instead, pure-and-simple party music, make-out music and get-down-and-shake-it music, harbouring the sort of simple riffs and hooks that easily hop across the decades.

The record is certainly denser and more difficult to find an entry point into than either of its predecessors; but this is not remotely to say that their label made the right the decision. After several listens, a handful of stone-cold, diamond-hard gems present themselves from of a scree of electronic beats and stentorian rapping/shouting.

They're relatively simple things to be sure, but they've been crafted with love and authority before being chiselled in stone so that they may yet last certain discerning metallers a lifetime.

The mixture of emotions across Unapologetic just doesn't sit right.

These are personal tales told using a well-established and communal language, and coated with close harmonies as delicious as a homemade carrot cake from a craft stall.

The unshrouded nature of these compositions reveals interesting and insightful aspects of the creator and his practice.

Enjoy Kaleidoscope Dream for the rarity that it is: an unerringly consistent, very good pop record.

Celebration Day is an opportunity to witness the power and the glory of Led Zeppelin, quite possibly for the last time, and they certainly don't disappoint.

Understated and thoughtful, The Violence is a true folk record that should rightfully see Hayman recognised as the national treasure that he clearly is.

Such dark lyrical tropes have served him well in the past, and even the blokey-but-sensitive shtick of his lovably clunky, WTF rhymes are part of a well-honed musical formula. But credit where it's due--he provides something for everyone.

If there's a weakness here, it's in the lack of variety to Smalhans' structures and sounds, the emphasis on arpeggios and keyboard lines that arc ever higher.

Californian duo's first LP for five years is a downbeat delight.

Of the nine songs that aren't singles already, four are cut from the same cloth as the hits: each one desperately vying to be the tune you most want to be dancing to when the realisation hits that you're out, the night is young, and everything is brilliant.

Godspeed have once again created a challenging, intense, evocative work, worthy of their canon.

For the most part this album, while as slickly produced as the classic pop it references, only faintly smoulders without igniting.

The familiar nature of this material takes nothing away from Trilogy. This is a great commercially available introduction to a young RnB talent who's following Frank Ocean into the mainstream.

Pale Fire is a pale beauty, and if you're seeking the chill-out Lykke Li (with whom she split a single in 2009) or an equivalent oasis of smouldering calm, Assbring will see you right.

Yet if Lonerism's epic psych-gasm has a weak spot, it's how it rarely slows down to take in the extraordinary view whizzing by.