The Dark Side of the Moon is one of those high-water marks of artistic expression. It’s just sublime. I don’t have a bad thing to say about it.
Trent Reznor set a benchmark in the industrial rock genre whilst simultaneously providing a form of therapy for millions of angst-filled listeners.
If Good Kid, M.A.A.D City introduced Kendrick Lamar to the masses, To Pimp A Butterfly cements his place in the hip hop hall of fame. This is an instant classic.
On The Beach is perfect for those late nights alone. Both mellow and despondent, the record features the purest of songwriting from a genuine artist.
Bite-sized servings of vintage Bowie glam-rock combine with brooding instrumental soundscapes to make Low a truly special album.
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.
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 jams are drawn out in a ceremonious manner, with hooks piled on top of other hooks; each chorus repeated enough for it to become a sing-along.
Visions of a Life is a triumph of contemporary British rock. The riffs roar and the melodies soar, with the band playing beautifully to Ellie Rowsell’s strengths.
Each player is a master of their craft, yet not one of them flaunts their talent. Kind of Blue plays out like a beautiful alien language.