In Sea of Beas there is definitely a voice, and perhaps a songwriter, who still has something stunning to offer.

The production--by chart-grabbing Fraser T Smith (James Morrison, Taio Cruz, Cee-Lo)--can only bring so much depth or variety to unadventurous songs which are bellowed and wailed with all the subtlety of Florence Welch giving birth to a rhino.

It's a real treat, so be sure to commit that title to memory should you be passing an emporium of musical delights anytime soon.

That lang is a greater and more radiant talent than the rest of the Siss Bang Boom combined is obvious, but so is the fact that in mysterious ways this strange marriage has helped her find her feet and voice again.

Cadenza is so much better than alright: it's more than a little brilliant.

The real joy of this record is that, behind the sulking and swearing, the clips of sampled speech and toying yelps, are 12 gloriously penned pieces of unadulterated pop.

Far from a cynical money-maker, this is the unwieldy outfit that unanimously improves those essential runners: harder work to start with, but providing great rewards at the finish line.

Twin Atlantic no longer stand out enough from the host of similar power-pop and emo acts that have flooded the airwaves in recent years, and Free is depressingly characterised by unimaginative, one-paced hollers like The Ghost of Eddie and Time For You to Stand Up.

As it stands, they've not only crossed over but given themselves the scope to impress even further in future.

Sometimes this build-up can establish a cocktail lounge atmosphere, but in most cases its emotional resonances hover on the right side of poignant.

This is scintillating fare, albeit rock of a variety that can dizzy itself to the extent where a point becomes dulled by the practice--not that it matters, because the poise is so polished (when it's not drenched in feedback) that the band's directionless bombast is a most pleasing soundtrack to all and any whatever-the-weather escapades.

Times New Viking are just as wilfully, wonderfully lo-fi as ever, but five albums in they've finally let the listener get that little bit closer to the heart of what they do.

Truth is, to cook up such joyful nonsense probably takes a helluva lot of effort, but it's the Beasties' gift to make this seem easier than falling off a mountain bike, and an infinite amount more fun.

Syracuse art-poppers need to let their instincts do the thinking.

While Lopez has claimed that her new public image showcases the real her, she never could pull off the idea of being a real human being with actual emotions on record.

Though born out of a fraught gestation period, this second LP is a thing of beauty.

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.

It's clear that All at Once is a record of big sounds, bigger themes and enormous – and entirely achieved – ambitions. A crushing classic.

Whilst Festival Bell lacks the visionary presence that made 1969's game-changing Liege & Lief so influential, and established the group's pre-eminent position in the folk-rock firmament, this album nevertheless confirms Fairport's reputation as an ongoing repository for quality songwriting.

Eventually, their self-indulgence completely loses the listener. No matter how hard one might try to love this album--and one can try very hard--there's only disappointment at what could have been.

When a lunar time capsule next needs a musical artefact of almost indeterminable age, Kode9 & The Spaceape are your men.

In short, then: another fantastically enjoyable album from an artist whose modus operandi, above anything else, seems to be ensuring his audience is having the best possible time. Many a self-absorbed peer should take note.

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.

Bootsy sets about waking up a new generation to funk's heritage.

This first album have produced something so beguiling, it's clearly been time well spent.

If this T-Bone Burnett-produced album isn't a standout, it still has plenty going for it.

This is a pop dance album par excellence bristling with positivity, tunes and ideas.

A marvellous little record where improvisation rubs shoulders with immediacy.