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Each note of every individual performance is captured and presented perfectly, with the ragged spirit of the band left intact. It’s scruffy yet masterful.

The record listens like rock music’s answer to an ice-cold six-pack of decentish lager. It’s unrefined, but a cheap and cheerful good time.

Never does the record come off as grandiose or self-important; it’s just that good, and it’s just that much fun. Not a masterpiece, but a master at work.

Parachutes is nice-feeling music written by nice-seeming blokes. As is the case with all things Coldplay, it’s easy to mock, but it’s easy to like as well.

Provided you're in the right mood, The Moon & Antarctica is one of the standout indie rock releases of the 2000s.

Despite extended musical passages and eccentric lyrics, The Sophtware Slump is remarkably accessible. It's pop music for art students.

While much of the Two Sun's tracklist doesn't feel as though it explores its ideas far enough, its highlights go a long way to make up for it.

Turning its back not only on the college path, but tropes of gangster rap as well, The College Dropout dares to be different in weird, supremely catchy ways.

It may not be the best in its class, but Toxicity still has a charm to it. The record is a worthwhile listen for turn of the century flavour metal.

Foals leaned into their restless, agitated, math-rock roots and carved out a niche in the mainstream indie rock of the time.

The Marshall Mathers LP is Eminem’s finest accomplishment, but it’s too maniacal to be a masterpiece. It succeeds mostly as a surreal expansion of his debut.

Murphy's not merely indulging his influences or recreating the past here. He delves into the past to forge a new, heady, indelible blend of electronica and rock.

Because of the Times is laudable record with a plethora of well written tracks, but it sits there with a mediocre comfortability, and does little to push or challenge.

Riffs in giant proportions, subtleties hidden between the pedal switches, and Turner’s Sheffield charm in spades. Possibly Arctic Monkey's finest album.

There are a handful of stellar pop tracks, and a mammoth mid-album climax that will go down as one of the group's finest moments. A lovely indie-pop record.

The album functions best as a fantastical journey of curious thoughts and emotions. It’s clumsy, yet very loveable, and there’s nothing else quite like it.

True to its reggae roots, Based on a True Story's mood is consistently mellow, providing an ideal vibe for those warm summer evenings.

Daisies of the Galaxy comes to terms with the torment that constructed the deeply bleak and reflective Electro-Shock Blues, and injects a taste of happiness.

Discovery is a classic dance albums despite its age and the progression we’ve seen in the genre since. Listening remains a pleasure, flaws and all.

The Eraser is a wonderful listen that comes with some baggage. If you’re able to handle its intensity, it’s actually a very beautiful record.

This is pop music for the mature listener; easy to consume, enjoyable enough, but flimsy and a little watered down compared to Cocker's work with Pulp.

Funeral is the beating heart of adolescence, a journey that voices the struggle of coming to terms with growing up. Beautifully intense and emotionally draining.

Strung together with downtempo drum beats, silky basslines, warming pads, and soulful vocals, it’s a very consumable album with little to jolt listeners' senses.

A model misunderstood album; flawed, overdrawn, deserving of a good deal of its harsh reviews, and yet still host to a unique and worthwhile character.

There are few better highs than Muse in top gear. It’s breathless, explosive music; the kind that compels listeners to pick up an instrument or start a band.

A cartoonish odyssey bristling with creative energy. The whimsy of the band's debut album is replaced by a biting sombreness very much of the 21st century.