Classic Quadrophenia, recorded with the Royal Philharmonic Orchestra and TV-friendly tenor Alfie Boa, works, but only sometimes. [Aug 2015, p.91]

What's really mind-blowing is the audio quality of that initial 60-year-old performance (and indeed, the box set in general), which is so lucid that it sounds as if Miles is in the room playing right next to you. [Aug 2015, p.106]

Shirley Inspired and Unheard Songs both bear rich testament to the fact that posterity is barely getting started in these two. [Jul 2015, p.88]

Heavy on reggae, with strong funk and grooves. [Aug 2015, p.98]

Its utilitarian arrangements only highlight how difficult it is to create a worthy cover. [Aug 2015, p.94]

The compelling, all-instrumental 39-minute studio performance remains recognisably a Field Music creation. [Aug 2015, p.94]

Three songs clearly outstrip the others. [Aug 2015, p.89]

Born In The Echoes finds them capturing the most elusive sound of all. They sound, at last, like themselves again. [Aug 2015, p.90]

Distractions is one addictive rush of spiky DIY energy. [Aug 2015, p.96]

Her beautifully compassionate songs are cradled in gentle, melodic arrangements from ever-inventive producer John Vanderslice. [Aug 2015, p.94]

One of the most surprising ambient albums of the year. [Aug 2015, p.95]

Knockin' Boots shuttles between classic disco, '80s electro soul, Gallic House tropes and stripped-down future funk with significant aplomb. [Aug 2015, p.88]

Instrumentals pretty much picks up where FSA left off. [Aug 2015, p.95]

Minimal, murky, magnificent. [Aug 2015, p.96]

Something More Than Free is as close as he's yet come [to a classic album]. [Aug 2015, p.92]

A little gem. [Jul 2015, p.89]

The material is, if anything, stronger than its predecessor and at times exquisitely beautiful. [Aug 2015, p.93]

Vocally she delivers, Southern fried and passionate. But the songs, ever diverse, lack shape. [Aug 2015, p.98]

Recent electric songs mix well with country ballads. [Aug 2015, p.98]

Rolo Tomassi are best when varying the textures. [Aug 2015, p.96]

Much of the remainder, however, plays a depressingly straight bat with mainstream thrills. [Aug 2015, p.96]

This is terrific, 90-minutes of ice-quaking noise, jet-engine feedback, histrionic metal screaming, Gothic doom and ambient euphoria that feels simultaneously ecstatic and terrifying. [Aug 2015, p.95]

Untethered Moon leaves no doubt these guys are on fine form again. [Aug 2015, p.95]

Time Flies is a similarly lovely creation, but with this surface gloss also comes a lack of depth and a slight cheesiness to the whole affair. [Aug 2015, p.94]

A welcome return to the comfort zone of their first two releases after the dreary mid-tempo rock of 2013's Stories Don't End. [Aug 2015, p.93]

It's brevity, meanwhile, ensures this sweetly, powerful group don't wear out their welcome. [Aug 2015, p.93]

It's astonishing how, despite his 32 instrumental credits and 20 guests, it still sounds dustbowl-empty, as if these were missives from The Great Depression, time-wise and spiritually. [Aug 2015, p.93]

A quirky collision of funk, pop, blues, Bowie-esque rock and electro, it'll perturb traditional soul fans--some of his cross-genre experimentation is weirdly unsettling--but there are several ear-catching gems. [Aug 2015, p.92]

His innate genius for transforming base building blocks into rhythmically compelling, humanist dance gold shines through. [Aug 2015, p.89]

Aching, poetically quotidian observations permeate Universal Themes. [Aug 2015, p.89]

This feels like production line Muse: big riffs, bass squelches, conspiratorial dialogue, but few new ideas. [Aug 2015, p.88]

Moonbuilding 2703 AD proves that his space academy can still churn our excellent results. [Aug 2015, p.88]

The melodies are sunny, but Red Kite glimpses the brilliant glare of summer through a morning fog which stubbornly refuses to clear. [Aug 2015, p.94]

It finds Glasper trying to maintain the interest of his new audience by putting a trio spin on neo-soul material as well as songs by Joni Mitchell and Radiohead. [Aug 2015, p.91]

There are some beauties here. [Aug 2015, p.91]

A typically finely crafted slice of emotionally raw storytelling with an absolute peach if a guitar solo. [Aug 2015, p.93]

A record with a beauty and sense of emotional elevation to match the place where it was made. [Aug 2015, p.92]

He [Luke Younger] has blended ghost-echoes of dub, techno, and house to oddly sounding effect. [Aug 2015, p.95]

Not much subtlety, but if some of the lyrics and playing are sometimes tough and ready, righteous passion overrides it to carry the day. [Aug 2015, p.88]

Inji is great fun, offering new surprises with every listen. [Aug 2015, p.92]

Heavy on atmosphere, but candid and brave also. [Aug 2015, p.98]

This "new" RP Boo set feels like a deeper, warmer work. [Aug 2015, p.98]

With a few exceptions, she just sounds bored. [Aug 2015, p.93]

The mind-boggling multiplicity if voices on Key Markets, the sneaking sophistication, and the beyond-colourful language, serve up a currently unrivaled feast for the mind. [Aug 2015, p.89]

Driven, hooky, moving. Better than Prozac or a sunny day. [Aug 2015, p.88]

These sings might inhabit unsteady mental states, but each component could have been places with tweezers and a jeweller's loupe. [Aug 2015, p.86]

An exercise in soulful, somnambulant alt-R&B with a distinctively British sound. [Jul 2015, p.91]

A cathartic soundscaping of the rugged Northern California landscape. [Jul 2015, p.91]

See them A Come and band original Open Goal here could both date from that time [1980].... The rest of Subculture spreads the net wider though. [Jul 2015, p.93]

[A] terrific LP, which depicts a sickness at the heart of America with a confident swagger and righteous anger.

Plangent retro charm. [Jul 2015, p.89]

[An] unexpected and trenchantly singular statement. [Jul 2015, p.86]

The lovely Jaakko Eino Kalevi, the most coherent album so far from the former Helsinki tram driver, is a gem.

Winsome, pastoral electronic vignettes that loop and swoop. [Jul 2015, p.91]

Things can get twee--but this feels like a tiny church in that forest, sacred and touching. [Jul 2015, p.92]

Coming Home has a timeless quality. [Jul 2015, p.87]

There's enough bittersweet emotion to ensure his own personality seeps through. [Jul 2015, p.96]

This highly accomplished album also finds her writing and singing in other registers. [Jul 2015, p.90]

An over proliferation of fluffy beats and soaring strings may have you hankering for something tougher. [Jul 2015, p.91]

Pleasing, but lacking his early melodic strength. [Jul 2015, p.96]

Get To Heaven feels both like a band at the peak of their powers and self-consciously dialing everything up to 11 before things go up in flames. [Jul 2015, p.90]

Ultimately proves hard to get a handle on. [Jul 2015, p.96]

Its icky love songs sadly have no beating heart, and very little soul. [Jul 2015, p.93]

Fans of pre-grunge American alt-rock come on in. [Jul 2015, p.96]

This guileless, wistfully romantic harmony pop suits them much better. [Jul 2015, p.96]

Pretty road ruminations. [Jul 2015, p.96]

Her songs are full of girl group feistiness. But not all of them. [Jul 2015, p.94]

The vibe is six herberts sinking the sherbets inviting you over for banter, yarns, setting the world to rights and all of the fun of rhyme, rhythm, blues and country-rock back in the day. [Jul 2015, p.94]

Tracks that will keep you waiting forever for the drop still have a corporeal appeal. [Jul 2015, p.94]

Rhythmically dense is the result. [Jul 2015, p.93]

This is killer stuff, with Randolph providing a supply of unbelievable sacred steel licks. [Jul 2015, p.92]

Canny, foundation-shaking urban pop. [Jun 2015, p.91]

You can't accuse Powers of resting on his laurels--although it's at the expense of some of that first record's unique character. [Jul 2015, p.91]

Loyalty retains the humble immediacy of its predecessors. [Jul 2015, p.90]

Listen too close to the lyrics and you'll often detect a dispiritingly autopilot misanthropy.... Lose yourself in the music, though, and Cherry Bomb reveals a fevered charm. [Jul 2015, p.89]

The results here are extraordinary. [Jul 2015, p.88]

It's the sound of a band at the absolute peak if its powers. [Jul 2015, p.100]

This mini-LP ladles grooves on PDS's stripped post-punk. [Jul 2015, p.96]

The dreamy riffs swirl amid powerful songwriting smarts, and melodic hooks abound. [Jul 2015, p.96]

This is less organic, more brittle, and electronic than before and begs to be opened out in a live setting. [Jul 2015, p.93]

This is a radical musical departure, certainly, but one that affirms the assured versatility of a singer/songwriter whose talent knows no boundaries. [Jul 2015, p.92]

Sumptuous, but still challenging. [Jul 2015, p.92]

There's nothing here to match their gonzo 2003 hit I Believe In A Thing Called Love.... But there's still laugh-out silliness. [Jul 2015, p.92]

Some of Herbert's most engaging work since 2001's Bodily Functions. [Jul 2015, p.91]

More confident that last year's transitional Drop, this new line-up's second album together finds Nick Murray's drumming busy and complex, but thrillingly so, lending sophistication to the band;s trademark trash-psych. [Jul 2015, p.91]

The 6ft 5in, broad-shouldered Gibson finally sounds the part. [Jul 2015, p.90]

Beneath The Skin becomes a cautionary take if how going for "affecting" can end up just terribly overwrought. [Jul 2015, p.90]

There's enhanced pop acumen and elemental shivers too, so maybe make that the new Lykke Li. [Jul 2015, p.89]

Get past the geriatric sniggering of It's All Going To Pot, here's a beautiful album of covers and new material. [Jul 2015, p.89]

Black Age Blues is satisfyingly solid and reassuringly familiar a comeback as you'd expect. [Jul 2015, p.89]

On over half of the songs, the marriage works.... But the titles and the lyrical obsessions are generally those of the Sparks oeuvre. [Jul 2015, p.89]

How Big, How Blue, How Beautiful is more lyrically direct and honest, even if the lure of The Big Music remains strong for Welch. [Jul 2015, p.87]

The grown-up Ash remain every bit as irresistible as the pop-punk pups. [Jul 2015, p.87]

A forward-looking treat. [Jul 2015, p.87]

There's a playful quality to the chunky adrenalin-soaked fuzz the duo create. [Jul 2015, p.86]

In Colour really comes into its own when Jamie xx gets abstract and confounding; where his ability to conjure something wonderful from mosaic, non-linear paths is most evident. [Jul 2015, p.84]

An album that plays too safe in its thirst for hits. [Jul 2015, p.110]

Duffy's devotional regard toward his own aesthetic rapture is sometimes cloying, but these are also beautifully mellifluous and impressively composed recordings. [Jun 2015, p.91]