Whether it's the horrors of recognising yourself in an obnoxious younger person, his downbeat but defiant re-working of Jerusalem or the uncharacteristically optimistic The Wolfless Years, it's still the words that really stay with you. [Aug 2013, p.93]

Lazy vocals, euphoric hooks and volleys of digital drums. [Aug 2013, p.98]

A deft pop nous and palpable devotion to his influences ensures each experiment really works. [Aug 2013, p.96]

Superior crumbs from the captain's table, they will make completists weep. [Aug 2013, p.104]

Freeforms about football, his old tunes and beyond, to variably potent digi-dub backings. [Aug 2013, p.98]

An unapologetic blast of tough breakbeats, deep bass, roots consciousness and with guest appearances from veteran MCs like Tenor Fly, General Levey and Tippa Irie, history lessons of how jungle grew from reggae and raving and influenced later forms including garage and grime. [Aug 2913, p.96]

Love Your Dum And Mad [is] a piercingly direct seduction of the senses. [Aug 2013, p.88]

Recorded, mixed and mastered in just two weeks, Chop Chop oozes zest and focus. [Aug 2013, p. 89]

[The album] effortlessly skips across sounds and styles like a human Wurlitzer. [Aug 2013, p.98]

Folk roots meet soundtrack clips and contemporary perspective. [Aug 2013, p.98]

[An] expansive advance on their Indian classical-inspired sound. [Aug 2013, p.98]

Cerulean Salt's added electricity, rhythm section, variety and production clarity still retains the intimacy, the skeletal arrangements and the plaintive urgency in here delivery, from a yelp to a croon. [Aug 2013, p.93]

Walsh's facility for approximating his soft-rock heroes is impressive; likewise DLM's sensitivity to the sport's uniquely philosophical undertow. [Aug 2013, p.89]

Anarchic Breezes is a fully-fledged new direction, and as coherent and powerful a record as McBean has made in his 10-year career. [Aug 2013, p.88]

Perfect-pitch harmonies and chiming guitars glide through 10 tracks of heartbreaks, make-ups and drunken misadventures disguised as glorious summertime breezes. [Aug 2013, p.91]

In short, it's the kind of pop music that works in any era. [Aug 2013, p.89]

Any threesome with such a full house of boss songwriters shouldn't go splitting up again. [Aug 2013, p.86]

Field of Reeds is a startlingly listenable proposition. [Aug 2013, p.92]

Desire Lines is the immaculately conceived album they've always threatened to make. [Aug 2013, p.92]

CSS's party-forever commitment is faltering. [Aug 2013, p.91]

The debut set from New Albany's Houndmouth suggests there's more to them than nice skinny jeans. [Aug 2013, p.88]

The future and past collide throughout. [Aug 2013, p.91]

Neil Hagerty in the producer's chair is a good fit for an album that deliberately blurs the pre- and post-Nirvana boundaries. [Aug 2013, p.92]

Apocalypse is a multi-storied cosmic rollercoaster that asks the big questions while relocating hip hop on the astral plane. No mean feat. [Aug 2013, p.88]

With Love's blackout material is thinly stretched, allowing light to shine in on a skeletal basement stock of dubstep sketches and flat house beats that repeatedly loop out to abrupt endings, halting Zomby's greater narrative ambitions. [Aug 2013, p.92]

An affecting release, it demands repeated plays, emerging as canorous, sly and bewitching. [Aug 2013, p.90]

Like a fine wine continuing to mature, Mavis's One True Vine should be allowed to breathe. [Aug 2013, p.87]

An hour of absorbing rhythmic transport, The Visitor fully satisfies the brief. [Aug 2013, p.84]