It’s a weird one, mysterious and mildly menacing, but eerily engaging nonetheless.

As with Young’s electric-car album Fork In The Road, his single-issue tendencies can grow wearisome after a few songs.

The record’s problem is that it never settles on one cohesive sound.

It's maritime in mood.

While Graffiti on the Train is a significant improvement, it's still something of a patchwork affair.

The production/remix duo of Richard Norris and Erol Alkan here offer a retro-psychedelic throwback to a more imaginative time, one where the Krautrock grooves of Neu! and Can collide with spacey Ibizan house synth washes and the whimsical acid fairytales of classic ‘60s Brit psychedelia.

Mindset is short by Necks standards--just two tracks of 22 minutes each--but it is typically involving.

With Golding’s expansive, questing lines riding Boyd’s rolling, polyrhythmic funk, the duo set displays a focused musical intimacy, while the band set is immediately more incendiary, thanks to Parker wailing wild over Golding’s more rooted part in “Valley Of The Ultra Blacks”.

An extra eight-track CD of new material, which is our primary concern here. [It does not] adds much to the Minaj experience.

There are a few irritations--I hate the ghastly synthetic-strings sound used on “Da Next Day”, and I hate Adam Levine’s hook on “Mic Jack”, no matter how impressively Patton piles rhyme upon rhyme. The hit cuts, though, are quirky novelties.

Chapel Club are another retro-indie band apparently eager to re-run the 1980s, albeit in slightly more musically adventurous manner than the likes of White Lies and Interpol.

For Together At Last, Jeff Tweedy revisits choice items from his back catalogue in solo unplugged mode. It’s a brave step, given the imaginative depth with which Wilco animates this material, but it does allow the songs’ core characters to come through more strongly.

If you’re looking for connectivity between the tracks, it’s difficult to find it through the array of hyperactive noise. However Reznor and writing partner Atticus Ross managed to create their own version of The Matrix.

On track after track, the falsetto vocals and surging electropop pulses ultimately congeal into too saccharine a sonic experience, an artificially sweetened aural marshmallow.

He fills the Gary Moore-shaped hole in the world admirably.

Familia is but a faint impression of what Cabello is truly capable of.

The blend of simplicity and sophistication is fairly well suited to the material, avoiding cloying sentimentality and religiose bluster.

The loss of its uplifting chorus harmonies deprives "Map Ref" of its sunny appeal, but "Two People In a Room" bowls along briskly with dissonant monochord tension.

At times, it feels as though the polite, considered Rodrigo could push ideas, emotions and melodies a little further than she does. ... But this is an incredibly impressive debut from a singer who’s only just learning to stretch her wings.

A few of the melodies fail to stick. ... But when Hynde reels out the rockabilly to target more deadbeats on “Junkie Walk” and “Didn’t Want to Be This Lonely” in the closing stretch, everything clicks.

It's Tunng's most direct effort yet, eschewing the “folktronic” bricolage of albums like Good Arrows; but there's plenty happening beneath the surface.

It’s amusing to hear Method Man claiming “Wu-Tang is for the children, go get your child support on” in “Two Minutes Of Your Time”.... It’s an ironic counterbalance to the sinister lope and slow-rolling menace of the typically inventive drug and gun metaphors of tracks like “50 Shots”, “Bang Zoom” and “The Meth Lab” itself.

Night Network isn’t a bad album, but it's not a particularly memorable one, either.

Despite the propulsive energy sustained throughout, some tracks lack focus.

This is not Young’s best work. It is, however, a record that should raise smiles on the faces of the faithful.

Kodaline offer a musical barometer of bankable current rock trends, but display scant originality on this debut album.

A pleasant-enough handful of easy-going songs, in which the focus on warmth has left them lacking bite... but the warmth of that voice is undeniably beguiling.

His band certainly nails Jennings’ trenchant country-rock tread on the title-track, a warning of the downside of the outlaw lifestyle for which Earle’s joined by Waylon’s old buddy Willie Nelson.