She keeps the mood fairly moderate amongst Burton's fluid soundtrack, setting the pace with a wry bravado that makes this album a dynamic listen.

If you peer hard enough, there are. Subtly, slow-burningly, Zero 7's wispy, placid emissions reveal charm and interest value; even the occasional surprise.

Wild Go is easily among the frontrunners for album of the year (so far).

The compositions are pretty formulaic and the lyrics aren't overly technical. Still, it works for Mill as a respectable effort that exorcises personal demons and moves him beyond illicit history.

She just needs to dig up some big old songs again, as those here aren't consistently up to the standard fans have rightly come to expect.

Be Brave is not quite the barnstormer that its lead single suggests, but there is enough gumption to see The Strange Boys through any scrutiny of their credentials.

For the most part, though, the fuzz has been pulled back enough to reveal an enjoyable but hardly revolutionary set that tends to recall a more ponderous Darklands-era JAMC.

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

Bedouin Soundclash's fourth album bristles and fizzes with elegantly understated passion and deadpan punky fury, as the group pursue their muse to various ends of the musical Earth.

When this 12-song set does hit its groove it is a punishing and relentless pleasure.

Marley fanatics will surely welcome the appearance of this release, but the fact of the matter is that it pales in comparison to the other live material already available; for a truly representative artefact, stick to Live!, Babylon by Bus, or Live at the Roxy.

Nothing that features on Kaleide will come as a surprise to those familiar with Sky Larkin's debut, though it will please them.

A disappointing sequel despite Cudi's innovative tendencies.

Excessive interludes drag the runtime and make the project feel a bit unfocused--but these missteps don't subtract too much from the overall premise.

As has been noted before, bands such as We Are the Ocean currently exist in a crowded market. Maybe Today, Maybe Tomorrow should give them a firm foothold in it.

No moulds are broken here, but the occasional breeze drummed up by the couple's galloping minds is in many ways cool.

Time will tell, but this opening salvo will certainly leave you pumped up for further Foster kicks.

Ultimately, the witty lyricism of Wale's early material is too few and far between, as this set leans heavily on misogynistic themes and self-centred musings.

Tremendous stuff.

SMD lovers will have to content themselves with a deep, well-crafted dance manifesto by two talented producers.

If only all bands had the guts and honesty of The Maccabees, maybe they'd get round to making third records as good as this.

It's a knowing retread of what works and what's expected--but boy, that's no problem.

To the Yorn faithful this set will probably seem like a step in the right direction.

On Damnesia, the bare bones and glistening edges are on such clear display that even the most cheerful listener's day will be darkened by Alkaline Trio's gathering storm clouds.

Sadly, much of the rest conforms to a malaise that's afflicted him since 2002's Have You Fed the Fish?: repetitive tracks consisting of one looping half-melody that outstays its welcome by several months.

With the band now considerably more settled, the release of Disconnect from Desire is confirmation that SVIIB's meticulous balance between the spiritual and choral has reached a confident, polished plateau.

It's a huge, focused, and daring leap forwards.

Either way, if you're no fan of the fey and fantastical, you're best off fleeing. Still interested? Well, hard work it may be, but it's not without its rewards.