Fly Rasta offers no concessions to the new-fangled ways of hip-hop, dancehall and R&B. [Jun 2014, p.114]

The celestial keys and brooding bass of Lesson From The Darkness could be straight from the early '80s, but The Faint's mastery of their influences ensures Doom Abuse is defiantly their own creation. [Jun 2014, p.108]

The musical similarities to old muckers Coldplay might smack of cynicism, but you can't fault their ambition. [Jun 2014, p.108]

A true one-off, you're either a believer or you're not. [Jun 2014, p.106]

She sounded better as a bit of a bad girl. [Jun 2014, p.106]

Like every era of electronic music all balled up together, CCTV and subways, excitement and fear. [Jun 2014, p.123]

While Azalea drops the occasional zinger, The New Classic is the sound of an ersatz rebel playing to script, having a shot at the rap career Paris Hilton never quite got round to. [Jun 2014, p.123]

A unique and thrilling voice forging a new folk tradition. [Jun 2014, p.122]

Maybe having others to lean on in the big bad world brings the best out of Fullbrook, who sounds bright and confident where once she was charmingly hesitant. [Jun 2014, p.122]

With Williamson delivering street-ranter streams of consciousness over Andrew Fearn's frigid post-punk/jip-hop productions, it's possibly not for the casual listener out for a few laughs but there's much to invigorate in its unaffected, defiant slagging of hated jobs, metropolitan hipsters, Twitter and more. [Jun 2014, p.120]

For all its surface activity, this twitching, fidgety aesthetic is still all icing and no cake. [Jun 2014, p.121]

Each track sparkles with a playful inventiveness, while Meath's beguiling, melancholy melodies are impossible to resist. [Jun 2014, p.121]

Putting it on is less like listening to an album and more like scaling a mountain. [Jun 2014, p.121]

As a whole, though, I Never Learn wallows too much. [Jun 2014, p.119]

Mulvey is very much his own man on this highly intriguing debut. [Jun 2014, p.117]

His first album since 2008's Ninja Tuna marks a radical shift, ditching both fishy puns and vintage soul samples in favour of swarming basslines and stuttering electro beats. [Jun 2014, p.116]

It's all done with a cheeky girl's charm. [Jun 2014, p.115]

Is Indie Cindy good enough for the Pixies to keep going? Pretty much. [Jun 2014, p.113]

The country-folk roots are earthly present, but old-time tropes are given contemporary settings. [Jun 2014, p.112]

Weird Drift is a lighter and less oppressive affair [than Love & Devotion]. [Jun 2014, p.112]

At times, stellar. [Jun 2014, p.112]

It's a graceful exhibition of light melody over dark mood. [Jun 2014, p.110]

The result is an inspired collection of songs from a consistently surprising and creative artist. [Jun 2014, p.110]

The charitable thing would be to blame record label micromanaging because surely nobody would choose to be this unoriginal. [Jun 2014, p.111]

They still sound a little too arch and buttoned-up to make a convincing transition from lab to club. [Jun 2014, p.111]

The relentless live percussion give Frost's music the structure that makes it more than noise. [Jun 2014, p.111]

The Nihilist is a mind-melting blend of traditional songwriting and endless, restless experimentation. [Jun 2014, p.110]

Someday World is a joyous blend of busy rhythms and bright, surging melodies with fleeting hints of Hot Chip and Talking Heads. [Jun 2014, p.108]