Audioxide

Come for the singalong hooks of “El Scorcho”, “Pink Triangle”, and “Falling for You”, stay for Rivers Cuomo’s tales of loves lost and loves unrequited.

The richest and most melodious harmonisations of four men since John, Mark, Luke, and Matthew collaborated on their bestselling project 2,000 years ago.

With Harvey it feels like you’ve stumbled across the ad hoc performance of a travelling mystic. It’s black magic with a smile.

Layers upon layers of sensuous strings, steady soundscapes, and ghostly vocals combine to create an record that is impressive, yet fatiguing.

The arrangements are expansive and diverse, with coarse guitars blending between the lines of timpani, bells, piano, and organ. Lots of organ.

Things Fall Apart is a fluid, continuous listen: understated to the point of being an excellent backdrop, which is both a blessing and a curse.

Midnight Marauders’ tracklist is an exhibition of seemingly boundless creativity, each track distinct, original, and memorable.

QOTSA’s debut serves as a glimpse into their career as princesses, before being made queens. There's always time for good ol’ sleazy rock’n’roll.

Psyence Fiction attempts to be the sonic equivalent of the visual cinema experience — a lofty ambition, but UNKLE give it a bloody good go.

Björk creates her own identity by combining contrasting into something entirely unique. This broke the mould of what it means to be a new, exciting artist.

Whether the Beasties are rapping or singing, an infectious adolescent vigour radiates throughout. 20 years on and that energy has rarely been replicated.

Pulp nail the pop/rock formula to near perfection. The themes aren’t necessarily cheerful, yet the album sounds like a celebration from beginning to end.

Inconsistent, but there's a lot to dig. The songwriting is hard to knock, and Damon Albarn leads the pack well with his social satires and cutting commentary.

The album is constantly evolving. The rare moments of tranquility take your breath away; they feel important and momentous due to the vast textural contrast.

Air combined chillout aesthetic with downtempo percussion, adding the pop element that made them such a success. Pleasant, familiar, and often absorbing.

Van Houten’s first and only studio album is flawed, for sure, but also profoundly personal. After 20+ years of mockery its reputation seems a tad unwarranted.

This is a compact, highly rewarding record; 30 minutes of mesmerising electronica that is both pleasingly disorientating and emotionally stirring.

An overwhelming, but vastly enjoyable experience — the essential Verve record. Richard Ashcroft set out to make history, and with Urban Hymns he did so.

Almost fully instrumental, the post-rock arrangements twang and moan through a sumptuous range of soundscapes, sounding as fresh as they do apocalyptic.

It took Michael Jackson five years to follow up the greatest selling album of all time, and despite showing signs of age, Bad gave it a damn good go.

What The Fat of the Land lacks in diversity, it makes up for in consistency: pulsating basslines and thrilling beats, delivered with trademark Prodigy grit.

Rock and roll delivered with swagger is such a buzz, and that’s the game on Definitely Maybe. It's relentless, unstoppable, and totally mad fer it.

Superunknown is a sprawling record, spanning grunge, alternative metal, stoner rock, and psychedelia, all while being one of the '90s most accessible works.

Cobain, Grohl, and Novoselic had an elemental chemistry, and their controlled, aggressive introspection on In Utero lends itself to a heavy meditative state.

Homogenic is a stunning work. Björk often defies categorisation, but her third studio album has a coherence that’s often missing from her other records.

The record warrants a listen for the highlights alone. The problems, such as they are, stem from the country vein of the album. It borders on twee at times.

Riding the crest of an unprecedented popular rise, veins caked thick with drugs, Oasis produced something profoundly overblown in their third album.

The record is a rich and gloriously grubby collage of sounds. It stands somewhere between Pixies and Nirvana, with an added injection of psychedelic rock.

The album is ice-cool summer groove music, with shimmering guitar stabs, slender double bass slides, and silky smooth vocal delivery aplenty.

Illmatic has every element required that goes into making a great hip-hop record, with no gimmicks to intervene. It is, at its core, ten essential tracks.

To brand this a landmark of the '90s is a disservice to its quality. OK Computer is as relevant now as ever, both culturally and sonically.

Melding orchestral and jazz samples with beats that surge tracks forward, Dummy remains intriguing for the listener throughout. An iconic album.

Weezer were unapologetically weird, yet strangely glamorous, which in itself brought a warming message; they showed us that it was cool to be uncool.

Trent Reznor set a benchmark in the industrial rock genre whilst simultaneously providing a form of therapy for millions of angst-filled listeners.

A magnificent journey, with tortured themes, fragile vocals, irresistibly groovy basslines, beautifully spacious production, and such a curious closer.

The Chemical Brothers’ second album is likely to please a number of electric tastes. It seldom rises above a good beat, but then it doesn’t need to.

Our first ever review. Reads like it too. In any case, the album can certainly boast a groove, but it lacks the edge of Pixies' best work.