Like all perfumes, its impact fades. [Aug 2015, p.71]

This is a wild and dirty, devotional trip that peaks with the shrieking, delay-warped minutes that constitute closer "E Shra." [Jul 2015, p.84]

In places she sounds surprisingly like Andrea Corr, but she;s a winningly melodic songwriter. [Aug 2015, p.78]

Williamson is good at painting Hogarthian grotesques in a few brushstrokes. [Aug 2015, p.70]

Currents may be equally exhilarating to any listener willing to adjust to Tame Impala's new paradigm. [Aug 2015, p.65]

While Winfield's pompous lyrics and over-earnest tone sometimes grate, the supple disco-funk of "Sparks" shows definite promise. [Aug 2015, p.81]

It's a rather bloodless and oddly dated set. [Aug 2015, p.76]

His sax-heavy third solo album blows its own horn. [Aug 2015, p.75]

On Subculture, The Selecter's dismay at the world is as powerful as ever. [Jul 2015, p.81]

It's not only Jones' most absorbing album since 1997's beats-drenched Ghostyhead, but a record that crowns her career, not as an end but as a culmination. [Jul 2015, p.85]

A rich, nuanced, fantastically enjoyable album that understands great music is often the product of a historical continuum rather than radical innovation, and which saves its best trick 'til last. [Aug 2015, p.82]

Sassy power ballads such as "Before I Sleep," "Sweet Love Of Mine" and "Not Good Enough" sit somewhat uneasily between Celine Dion and Stevie Nivcks. Yet as the album progresses, there's just enough to retain the interest of former fans. [Aug 2015, p.83]

Ten Songs keeps his audacious past and redemptive present in balance. [Aug 2015, p.89]

It feels as if this album is only half the intended project. It's a strong half, fortunately. [Aug 2015, p.81]

Rich with amped-up fiddles, mandolins, accordions and harmonies, it's vibrant, hook-laden and addictive. [Aug 2015, p.77]

A confident debut, a record that is greater still than the sum of its impressive parts. [Jul 2015, p.74]

The breadth is a big part of the charm. [Jul 2015, p.83]

Weirdly wonderful. [Jul 2015, p.78]

The overall vibe is naturally more intimate than before. [Aug 2015, p.81]

Bad Love takes a less romantic view of life, but sonically, the retro filter is still very much on. [Aug 2015, p.81]

The effects are over-stylised, however, rendering her impressive vocals precocious, ad the uniformly mid-paced tempos can become wearying. [Aug 2015, p.80]

Lott croons plaintive lyrics over weaponised sci-fi soundscapes fizzing with post-dubstep beats, bleeps and electro-classical string flourishes. [Aug 2015, p.80]

The new songs are equally striking, ranging from sensual lullabies to strident protest, delivered with a righteous spiritual and political conviction in a muscular voice full of spit and pungency. [Aug 2015, p.78]

Each [track] is assembled like an audio drama, starting with static noises and amusing spoken-word fragments before frequent musical plot changes. [Aug 2015, p.77]

The cartoonish skank of "Too Original" is business as usual, but Peace Is The Mission is often reflective. [Aug 2015, p.76]

Rachel grimes continues to make challenging, tense music. [Aug 2015, p.75]

Glasper steps into the spotlight, less ostentatiously [than Kamasi Washington's The Epic], with a live trio album. [Aug 2015, p.75]

Their tendency to overthink and squeeze every drop of pleasure from their work does them few favors, particularly when they showcase such innovative songcraft on a record like Get To Heaven. [Aug 2015, p.73]

It's indeed a thrilling blast. [Aug 2015, p.72]

Dreamy of atmosphere, and often screwed of tempo. [Aug 2015, p.71]

The Monsanto Years is occasionally rambling, frequently sentimental and sometimes moving. [Aug 2015, p.68]

HudMo has toned down the high contrast and adopted a softer, soul/R&B-pop style. [Jul 2015, p.77]

His vocal lines are often so casually intoned that they mingle imperceptibly with those of his back-up singer Suad Khalifa, over gently pulsing twilight liaisons that yearn to be a little more sophisticated than they actually are. [Jul 2015, p.77]

Wyman and his band soon settle into a series of mid-tempo songs whose predictable arrangements are matched by bland lyrics and a voice that sounds like it would much rather be someplace else. [Jul 2015, p.84]

There's some filler among three hours of material but the instrumentals are staggering, pulsating pieces that breathe life into soul-jazz. [Jul 2015, p.84]

Tightly wound--easygoing but uptight; the work of a man still striving for a modest kind of perfection. And--not for the first time--with Still he has almost achieved it. [Jul 2015, p.65]

The band's second album features a few middling faux-Europop numbers, but the best are real growers. [Jul 2015, p.71]

It's all accessible as the countryside, with a sweeping sense of the arcadian. [Jul 2015, p.76]

Their inspiration occasionally wanes. [Jul 2015, p.81]

Musgraves' willingness to address a life built on knotty contradictions give her songs resonance far beyond Golden's borders. [Jul 2015, p.82]

Fashions change, but Baird's music remains gorgeous, harbouring a kind of still magic without resorting to self-consciously wyrd affectations. [Jul 2015, p.71]

There's both [commitment and respect] in spades on Coming Home, a throwback album that's also blessed with modesty. [Jul 2015, p.74]

There's not much room for originality in the tiny space he stakes out between Petty, Chilton and Westerberg, but thanks to Cumming's easy charm and gift for simple , classic hooks, the likes of "Workin' It Out" and "Total Darkness" feel like old friends. [Jul 2015, p.73]

Its vision of pop is deeply hermetic, caught between quiet pastoral rapture and urban resignation, Cracknell's voice a siren of sweetened melancholy. [Jul 2015, p.73]

Accomplished rather than exciting. [Jul 2015, p.83]

There's a Jekyll and Hyde quality to Wolf Alice's debut that gently reels you in with its gossamer folk pop and lilting indie-pop before it going for the jugular with savage bursts of psycho-grunge guitars. [Jul 2015, p.84]

He's a little too old to be playing the lecherous pick-up merchant on tracks like "Tight Tones;" but the lovesick swing of "The Old Man And The Beer" rather suits him. [Jul 2015, p.83]

On this luminous nine-song LP, Souther adheres to the old adage--leave them wanting more. [Jun 2015, p.81]

The Acorn remain elusive. [Jul 2015, p.69]

Submerged are the country/folk ramblings of 2012's Arrow, replaced with a challenging density. [Jul 2015, p.77]

Moroder's first album in 30 years consists largely of generic pop-dance. [Jul 2015, p.80]

Stamey is at his most persuasive when he keeps its simple. [Jul 2015, p.83]

If their third album is perhaps not quite as austere as previous offerings like 2012's Clay Class, it;s still like sticking a quarter-inch jack into a George Foreman grill. [Jul 2015, p.81]

File under Banal Guru Pop. [Jul 2015, p.78]

A sort of desolate twang predominates. [May 2015, p.76]

The impressive Alternative Light Source sees Barnes picking up, with a snarl, where the pair left off. [Jul 2015, p.78]

Fernandez's tunes have an endearing air of fragility. [Jul 2015, p.75]

Their fondness for 17-minute improvisations demand a certain stamina, but there's a strung-out beauty to Infinity Machines that eases you in gently. [May 2015, p.73]

The Los Angeles MC-producer hasn't yet made a definitive record. Cherry Bomb isn't it either, but its chaos is invigorating. [Jul 2015, p.83]

Singular and unsettlingly sophisticated. [Jul 2015, p.76]

Nelson sings like a canary and plays like a dream, Haggard growls like a grizzled jailbird, and everyone seems to be having a blast. [Jul 2015, p.72]

In the china shop of his last five years' work, this LP is the bull. [Jul 2015, p.70]

It's stuffed with Staxy beats, clicking bass and Hi-Life bounce. [Jun 2015, p.81]

His debut is characterised by frantically over-driven beats, but is as soulful as it is dance-insistent. [Jul 2015, p.80]

Despite the odd moment when you're not sure quite what she's on about, she still stabs like a stiletto. [Jul 2015, p.77]

All in all, it's a match made in heaven. [Jul 2015, p.75]

Much more than just a fan curio. [Jul 2015, p.81]

For the most part, this is a short, sharp and generally satisfying voyage into Ash's heady past. [Jul 2015, p.71]

Quarters four 10-minute jams allow them instead to indulge their more experimental side. [Jul 2015, p.77]

There's a lot going on here. [Jul 2015, p.69]

There are reasons to cheer aside from survival--cultish single "Open Fire," "Mighty Wings" and the Rush-like title track. [Jul 2015, p.73]

Frozen Niagara Falls is still a rocky ride in places. [Jul 2015, p.81]

The rough-and-ready songwriting is all part of the conceptual high-jinks. [Jul 2015, p.81]

Simple Songs is a major statement from a brilliant, mischievous singer-songwriter. [Jul 2015, p.80]

Simply gorgeous. [Jul 2015, p.80]

Parker's songs still cut and slash, at times with righteous indignation, and The Rumour are focused, just within a different lens. [Jul 2015, p.79]

The songs are underpinned by euphoric, tangled guitar rock a la Japandroids, transformed by Quinlan's defiant joy. [Jul 2015, p.77]

Panoramic, synthetically symphonic and a lot of fun. [Jul 2015, p.77]

The definitive post-millennium Fall album remains 2008's Imperial Wax Solvent, but this is a credibly bitter pill to swallow. [Jul 2015, p.75]

The choice arrangements are alive with conviction. [Jul 2015, p.73]

He has a weakness for think, hackneyed lyrics, but a flair for inspired juxtapositions, too. [Jul 2015, p.71]

What In Colour reveals is the sheer scope of Smith's skills as a songwriter and producer. [Jul 2015, p.68]

Introspective, diaristic songs that make a virtue of their simplicity. [Jul 2015, p.76]

Welch delivers clunky self-help lines wrapped in elemental metaphors. [Jul 2015, p.76]

It's often closer to the music the group made during their 2000 comeback. [Apr 2015, p.69]

The outcome is a raucous, rough-and-tumble blues-rock album. [Jun 2015, p.71]

This invigorating swansong by the Anglo-Italian duo finds Sam Willis and Alessio Natalizia bowing out at the peak of their powers. [May 2015, p.84]

Undeniably, they are a dance band first and foremost, but fans of Tinariwen will find plenty to love in raw soulful numbers like "Koana" and Farila." [Jun 2015, p.83]

Gelb's semi-surreal observations lace things together. [Jun 2015, p.77]

A record that achieves a great deal with only a few raw materials. [Jun 2015, p.73]

This one needed longer in the incubator. [Jun 2015, p.81]

[A] neoclassical treat. [May 2015, p.78]

Their debut takes SBB's percussive "Congotronics" sound and twists it into dramatic new shapes. [Jun 2015, p.78]

A Doug Sahm/CCR vibe runs through much of this debut. [Jun 2015, p.71]

The Word pick up where they left off on their 2001 self-titled debut. [Jun 2015, p.84]

There are many wise, deceptively simple insights on this wonderful album. [Jun 2015, p.82]

Containing only nine lithe and varied songs, Multi-Love is anything but a whimsical indulgence. [Jun 2015, p.79]

Produced by Bad Seed Jim Sclavunos, this latest project sees her moving away from the playful whimsy of her debut in favour of looser, gritter textures. [Jun 2015, p.75]