There’s plenty to suggest that she is still developing and searching for her true self, but there's more evidence that Flo is a captivating and striking new voice.

There’s still plenty to bewitch the listener, particularly if your shelves are stacked with the likes of, say, The Darling Buds, Kirsty MacColl or Allo Darlin’, but it’s a more refined approach, shall we say.

It’s a charming record, but one likely to be appreciated to its fullest only in the dingiest times of the year, those days when you find yourself in need of a reminder of sunnier months just to keep going.

Again, this is no ordinary breakup record; it's a turbulent reflection full of complexity pointing toward hope – that farewells don't have to end in goodbye but could evolve into something deeper and more meaningful.

This album comes so highly recommended because it’s strung out, not drawn out; it’s melodic not chronic and ultimately it’s both pleasant enough to listen to a few times and suggestively dour enough to suck you from there.

These eight tracks will reward familiar fans but Cohen’s music is worthy of a much wider audience.

They haven't really taken a new direction with regards to the songwriting on Decency.

This is a lovely record, prettily arranged and carried off with assurance, but it’s ultimately very difficult to escape the feeling that the real aim here was to deliver something of slow-cooked profundity.

It’s about words and emotions rather than big pop moments; this is a slow-burner, which though possesses grandiose moments of musical glory, revels in the detail.

On Gold Panda‘s sophomore full length, moments of predictability are rare.

The Faint have finally hit upon the idea of letting all of those varying sounds simply collapse in on one another, only to arrive at an album that sounds the most like them, even if we’ve never quite heard it before.

Despite all of the duo’s lofty intentions, slick artwork and studio trickery, the soggy samples and limp singing guarantee you won’t go back for seconds.

There is a somewhat disconcerting beauty to some of Pre-Human Ideas’ songs.

It feels like a debut record in the sense that they’re trying to do so many new things without 100% confidence, but also like a good debut record, it makes you massively excited for the future.

For all its faults, the heart and maturity at the centre of Soft Will feels more vital and important than their showy genre tourism ever did.

Convenanza naturally operates best when Weatherall stays away from the mic.

By stepping into this unfamiliar territory, he’s not only proved that he’s the dynamic and hugely talented producer that those early EPs hinted at, but he’s ended up just inches away from making that record he’s aiming for.

An adventurous artistic growth is surely on the horizon for this blossoming young band, but on The Dew Lasts An Hour, Ballet School quickly found out what technique works for them and where their creative strengths lie.

By plunging impassively into their own hearts of darkness, Mark Lanegan and Duke Garwood have demonstrated that there’s still plenty of life lurking in the muddy waters of the blues.

What we hear is a man playing conductor, curator, ringmaster, director--a brilliant facilitator, yet one never quite able to hold his own on the stage of his making.

As You Were is practically all comfortable, predictable, Oasis-without-Noel comfort food.

The laid-back pace and contemplative mood then doesn’t really evolve over the 11 songs, and although Croz doesn’t outstay its welcome, there is a nagging feeling that the slickness of the production and instrumentation don’t play to Crosby’s strengths as a singer or songwriter.

There are a couple of great tracks, but a little too often you’ll find that it isn’t Norman Wisdom, Johnny, Joey or Dee Dee, but musical déjà vu that these dreams are made of.

Kindred is a potent reminder of his prowess as a writer, delivered in a quick, forthright burst; it’s not the finest showcase for the sheer diversity he’s capable of as Passion Pit, but it does stake a claim--context considered--for his ongoing importance.

Restless Spheres never settles on one kind of terrain for long, but it exudes the assurance of an artist who has explored a range of styles over time and found his consistency among all of them.

The Dreaming is, overall, a diverse album that showcases new sides of Monsta X whilst also meeting the ideas and feelings that fans look forward to.

Whilst he floods creativity into the engine of his tracks to generate a powerful sound basis, it becomes apparent that sometimes Alfie needs to be refuelled in the lyric department. ... Mellow Moon acts as Alfie Templeman’s experimental wonderland that shows there is nothing that will halt his creative output.

There's a distinct and purposeful artifice surrounding New Last Name that lends it enough intrigue and depth while still being able to simply say, "See, we can do this too." And you know what? They can!