This pan-generational Jones/Dap-Kings team have been injecting new vitality into a classic form since 2002, and the people will certainly want their strong new soul album. [Feb 2014, p.90]

Love's Crushing Diamond is restful, woven, baroque. [Feb 2014, p.89]

Filled with the restless tension of forever moving on from relationships, situations or cities, her rarefied empathy hits a haunting peak on For The Miner. [Feb 2014, p.89]

Those bummed that the proggy leanings of his Jicks have encouraged former Pavement stepper Malkmus to indulge his inner Saxondale will find much to love on their sixth album. [Feb 2014, p.88]

Rave Tapes does not find Mogwai colonising new territory, but that seems fair when their own stretch of land is still giving up such gold. [Feb 2014, p.89]

On this form, long may Damian Jurado stay lost. [Feb 2014, p.88]

This is a powerful collection of contemporary battle hymns that rings out lie a well-needed musical call to arms for the 99 per cent. [Feb 2014, p.88]

Wanderlust sees the singer execute an elegant slide into a more stately kind of pop. [Feb 2014, p.88]

The disillusionment makes for downbeat and decidedly adult pop. [Feb 2014, p.88]

Snoop is in surprisingly tender form. [Feb 2014, p.88]

Cymbals do serious but successfully swerve the perils of the po-faced by being fun. [Feb 2014, p.96]

Perhaps inevitably, given the material's scattered provenance High Hopes lacks the cohesion, both thematic and sonic that characterised Magic and Wrecking Ball. [Feb 2014, p.86]

He sounds shyer and less relaxed at the onset than on the 1968 archive At Canterbury House. [Jan 2014, p.112]

Highlights include the Earth, Wind & Fire-esque horns and harmonies of The Lewis Connection's Got To Be Something Here and tracks by Flyte Tyme, whose singer Cynthia Johnson left for Lipps Inc and Funkytown one-hit-wonderdom, but who on this evidence clearly deserved much better, [Jan 2014. p.108]

Fuses Velvetsy heartbeat minimalism with pastoral strings and acoustic guitar. [Jan 2014, p.104]

Their relentless attack is deadly serious. [Jan 2014, p.104]

16 lightly fried examples of his gift for surrealist pop/classic rock synthesis. [Jan 2014, p.104]

BSP's sifts from poignant viola and tranquil vocals to foaming turbulence are perfect. [Jan 2014, p.104]

Tricolore feels like an imaginary soundtrack. [Jan 2014, p.103]

While Desert Skies' fusion of '60s country-rock with '90s underground dynamics doesn't move ass deeply as 2001's sublime Once We Were Trees, its peaks prove Beachwood Sparks' early days are worth investigating. [Jan 2014, p.103]

A lesser work compared to, say, 2008's Nude With Boots, Tres Cabrones nevertheless stomps with enough sulphurous, slothful might to satisfy the faithful. [Jan 2014, p.102]

It's possible that it all makes rather more sense to the creators than it does to the listeners. [Jan 2014, p.102]

Fetch finds the band a newly slimline two-piece in pursuit of fresh territory. [Jan 2014, p.102]

One Day Away, with Urban, is country-lite, but everything else is heavy with the weight of Guy's skill and experience. [Jan 2014, p.101]

It feels like a big step forward. [Jan 2014, p.101]

Both slow-burning, early Zeppelin-style blues, its understandable they would front-load the album with its trump card, but both seem slightly at odds with the Dickinsons' mission statement. [Jan 2014, p.101]

Defiant, confused, heartbreaking: Hank3 is country music in a nutshell. [Jan 2014, p.101]

A remarkable, wonderful calling card. [Jan 2014, p.100]