Pacier than her self-titled 2018 debut, the new album is still too long. But lengthiness suits R&B’s slow-burn tendencies: lingering over syllables and songs, letting new albums simmer.

British rock desperately needs a big new act to capture the popular imagination. Though hyped in the music press and rising extra-fast, this London-based quartet lack the vision to fit that particular bill.

While they make no claims to be a wildly original band--they listen to Black Sabbath and they have been described as the all-female Joy Division--what makes them so compelling is their fierce focus.

An assured and imaginative album.

Paul Griffith (drums); Amanda Shires (violins/vocals and a gifted songwriter with her own album Lightning Strikes just out); Chad Staehly (keyboards); Jason Isbell (guitars) and Mick Utley (vocals) add the expertly jaunty sound to Snider's ironic and enjoyably dark lyrics.

There's a confident, bouncy feel to Give Me All You Got.

The excellent Sara Watkins joins on fiddle, guitar and vocals for an eclectic mix of songs.

It's an introspective work - family breakdowns, fractured romances and his own restless, addictive character pour forth in a variety of low-key yet lush arrangements featuring sombre brass accents.

A pleasant, enjoyable album from a multi-talented man.

The 13 songs, written between 1972 and 2001, show off the range and subtlety of Lowe's songwriting.

There are much more vibrant records and live songs in Los Lobos's back catalogue but this is a sweet reminder of their talent.

This CD won't replace the originals but it's a tribute with some memorable versions of great songs.

It's a cleverly constructed, well-written and cohesive piece of work - albeit possibly, at 13 tracks, two songs too long.

Andy Cutting (accordion), Jon Boden (Hields's partner and the Bellowhead frontman is on fiddle, guitar and double bass), Sam Sweeney (fiddle, viola, cello), Rob Harbron (English Concertina and fiddle) and Martin Simpson (guitar, banjo) provide the classy framework for Hield to interpret 11 traditional songs.

Mike Bub (bass) and Kenny Malone (percussion) make up the tight musical unit on 13 enjoyable songs, which were recorded in Nashville.

There is nothing particularly daring about the album but it's classy and enjoyable.

The music is an acquired taste but Tales From The Barrel House is certainly a modern musical artisan at work.

The 'Revue Boys'--Jonny Bridgwood (double bass & rhythm guitar), Robin Gillan (harmonica), Jason Steel (guitar), Dave Morgan (percussion), and the two Paleys --swing nicely across a range of styles and songs.

The album is full of great music, the sort of bluesy, R&B material master guitarist Cooder does so very well.

After The Ball, a classic waltz in 3/4 time and a song of heartbreak as powerful today as it was more than 120 year's ago, is just one highlight on this super musical history lesson.

The highlight [of Mystic Pinball] is an affecting ballad called No Wicked Grin. It's Hiatt at his tender best.

The 58-year-old, who is writing his memoirs, is as busy as ever, and he's still got what it takes.

ht Sun is a bold album, and much of it seems to be about casting off the comfortable. But when it works, it works very well.

The album has to be judged a late-period triumph, even if I am not entirely convinced The Voice's avuncular judge is quite as deep as the material demands.

Atlanta-based producer Ben H Allen (who has worked with Animal Collective and CeeLo Green) has beefed up their sound, although a taste for clean sonic lines and cheesy keyboards retains a power to grate.

Taylor aimed for “sing-along stadium tropes” on this new album, mainly achieved via a sizeable chorus who lend their lungs to many of its tracks, often to rousing effect. .... Despite the choral boost, Taylor’s music only really unleashes its full power on stage — it deserves to be experienced live.

There are many absolutely gorgeous moments, including a reconfiguring of Pachelbel’s Canon in D Major as a ballad of gender fluid love, melancholy dance song Tears Are Soft, the lovely piano ballad Flowery Days and delicate electropop True Love (featuring 070 Shake). But the overwhelming mood is oppressive as it proceeds at a relentlessly mid tempo pace like a kind of stately march towards ecstatic sexual release.

Horan’s sound of choice is much more understated, typically revolving around folky, acoustic strings and soft vocals. The Show, his third solo offering, is more of the same.