A subtle, unshowy set it may be, but Toumani & Sidiki shows that this particular family affair will endure... perhaps for another 70 generations. [May 2014, p.75]

The Streets' Original Pirate Material crossbred with The Fall's Grotesque, it's nasty and brutish, but mercifully short. [Jun 2014, p.83]

Too busy with ideas for its own good. [Jun 2014, p.76]

Evans' descendent Gruff Rhys has immortalised his journey with a saga in documentary, book, app and CD form. Rhys has a talent for presenting such material with the right mix of pathos and play. [Jun 2014, p.82]

An engaging distillation of Weiss' rumbustious style that locks the listener into a groove and doesn't let go. [Jun 2014, p.74]

The album's highlight comes when "I See You" wiggles free of its '90s indie-disco mooring and shoots at the moon; Luminous could have done with a few more of those moments. [Jun 2014, p.78]

Disappointingly, F&M's fifth album reinforces the trio's constant strength and weaknesses. [Jun 2014, p.78]

The best moments tend to come where the reggae is at its most full-on. [Jun 2014, p.80]

Amelia Rivas and Christian Pinchbeck were "on" before they recorded their debut album, but are now very much "off," a situation which adds a fraught edge to the woozy Sky Swimming. [Jun 2014, p.76]

Unexpectedly exhilarating. [Jun 2014, p.79]

You'd struggle to find a more affecting ode to the selfishness of love than this. [Jun 2014, p.80]

The Way is a terrific, club-attuned set that renders them barely recognizable. [Jun 2014, p.83]

It may seem churlish to identify one reunion as especially cynical, but recent Pixies activities have felt notably artless--a situation emphasised by Indie Cindy. [Jun 2014, p.82]

This study of youthful misadventures gives the 97's ample opportunity to re-immerse themselves in the punk-fuelled exuberance they brought to the alt-country movement two decades ago. [Jun 2014, p.82]

Vocalist Tim Kinsella strikes an intriguing balance between raw emotion and lyrical enigma. [Jun 2014, p.82]

The straightforward rap tracks merely show up his generically braggadocio lyricism and deflated hook, using charmless trap cliche and bringing out the leaden, smoke-headed worst in the likes of Action Bronson, Mac Miller and Ab-Soul. [Jun 2014, p.78]

Its hard-edged synth-punk is grittier and harsher this time around, perhaps their best collection since 2001's Danse Macabre.

22-year old singer and songwriter Dylan Baldi still sounds like an angst-wracked teen. [Jun 2014, p.73]

An entirely ravishing aesthetic experience. [Jun 2014, p.76]

Plenty of mouth, then, but lacking in trousers. [Jun 2014, p.69]

If El Camino was the Keys' catchiest album. Turn Blue turns out to be their sneakiest, subtlest and most seductive. [Jun 2014, p.65]

There are enough moments of mercurial brilliance on May Your Marry Rich to suggest that the core duo of former student buddies Ryan Hendrix and Nick Turner are finally on to something. [Apr 2014, p.71]

The overall effect is both dark and playful. [May 2014, p.74]

They've lost none of the vigour of second (and last) album, 1988's Woodenfoot Cops On The Highway. [Mar 2014, p.85]

Shriek is a sustained act of seduction, a deftly conjoined conjuring of song, rhythm and mood. [May 2014, p.83]

Gone, for the most part, are the aching ballads in favour of identikit stadium rock epics somewhere between Simple Minds and Coldplay, overlain with '90s dance beats. [May 2014, p.73]

This is an album that twitchily turns away from a pat genre tag. [May 2014, p.81]

While a talking blues about baseball cards edges into geekville, "To The Veterans Committee," a sunshine pop supreme, might have you singing the praises of Dale Murphy without even knowing who he is. [May 2014, p.69]