Natalie Prass's debut luxuriates in the same effortlessly timeless space as Rumer's Seasons Of My Life and I Am Shelby Lynne. [Feb 2015, p.94]

An exhilarating step beyond [the 2005 and 2007] albums' late-'60s foundations. [Feb 2015, p.93]

This blending of expected and unexpected makes Soul Power something altogether special. [Feb 2015, p.92]

It's a mixed affair. [Feb 2015, p.91]

If there's little of the duelling gamesmanship that made their 1993 debut so remarkable, this is still a joyful comeback, brimming with big screen music. [Feb 2015, p.91]

Hayes's new-found prolificacy certainly hasn't exhausted his gift for timeless pop. [Feb 2015, p.91]

The Decemberists' seventh is unlikely to weaken their commercial pull. [Feb 2015, p.91]

The album's no fence-sitter, it hits hard almost for the duration. [Feb 2015, p.90]

Their tenth album is grand, moody and elegant in all the right places. [Feb 2015, p.90]

Those who have stuck with the Glasgow act this far will find much to enjoy here. [Feb 2015, p.90]

If the formula is simple, it delivers brutish thrills a-plenty. [Feb 2015, p.89]

This tenth album opens, unappetizingly for non-disciples, with a histrionic funeral dirge call provocatively, Killing Strangers--plus ca change from the Status Quo of Satanist twaddle. But hold tight, there's livelier material ahead. [Feb 2015, p.89]

Bada$$ proves a natural born rhymer on a deeply rewarding showcase of advanced level lyricalism. [Feb 2015, p.89]

Kykeon is an album of simple instrumental guitar rites that, through repetition, drone and variations of melodic line achieve a particular kind of ecstatic cyclic euphoria. [Feb 2015, p.88]

Surprisingly marginalised on the latest Wu effort, Ghostface Killah proves he's fighting fit on this gritty, organic partnership. [Feb 2015, p.88]

The best Waterboys record since 1988's Fisherman's Blues. [Feb 2015, p.88]

No Cities To Love stares down its troubles, power and joy ultimately lying in the hands of the people who can write such songs. [Feb 2015, p.86]

An instinctive and honest sublimation of a state of mind, full of intriguing revelations but leaving enough questions unanswered to keep you ever seeking more in its grooves. [Feb 2015, p.88]

That Cambodian rock band with a repertoire of the most obscure covers have grown up--and no snakes were harmed in the making of this album.

This album comes with a strong sense of fantasy: authors can be rock stars, “unknowns” can become known and Stevie Wonder is right over there. What is solid, however, is Ronson’s ability to throw a swell party.

This is a more colourful record than its predecessor, but it’s troubled, too.... Meanwhile, aficionados of pure sonic treats are well served. [Feb 2015, p.89]

It's a sumptuous collection. [Nov 2014, p.100]

It’s subtle, it won’t grab you by the lapels, much less the jockstrap or G-string, but it does carry that twangy tang of life.

Sadly this well-meaning rewroking doesn't [hold up]. [Nov 2014, p.93]

Eighth and best-yet album of horn'n'vibes-heavy jazz cinematics. [Oct 2014, p.96]

Well after its final note fades, Islands lingers long in the memory. [Oct 2014, p.93]

Black Messiah is an exquisite realisation of what D’Angelo does best.

This is very much sitting-in-the-pub-moaning music. [Dec 2014, p.98]