Antibalas is musical democracy in action, and an inspiring example of a band practicing what they preach.

With the band now considerably more settled, the release of Disconnect from Desire is confirmation that SVIIB's meticulous balance between the spiritual and choral has reached a confident, polished plateau.

The same sort of eccentricity that sees Matt Bellamy pegged as a loveable boffin is well intact, but it's the sheer depth of the sound that drags you in like ultimate gravity. Also intact is their underlying pop instinct.

Go-Go Boots is one of the best examples yet of the separate yet complementary skills of the Truckers' three leaders, melding styles and switching moods but retaining an overall feel that's distinctly theirs.

The Cherry Thing is more than just a welcome return – it's an essential album.

This greatest hits comp (selected by BalkanBeats' DJ Robert Soko) showcases their party tunes such as the breakneck signature romp through Hava Naguila and the blistering flugelhorn ska of Khelipe E Cheasa... as well as their successful ventures further afield.

It's tastefully done, and possesses many hidden textures and contours; the more you get of it, the more you like it.

From album to album, The Bad Plus continue to evolve and improve.

It's this tightrope between bruised self-doubt and fun blasts of noise that gives Wolf's Law its emotional heft.

The Montreal-based artist has again delivered some fascinating and healthily progressive music on Visions, her third album.

Whilst Festival Bell lacks the visionary presence that made 1969's game-changing Liege & Lief so influential, and established the group's pre-eminent position in the folk-rock firmament, this album nevertheless confirms Fairport's reputation as an ongoing repository for quality songwriting.

A significant step forwards then, and all just a click away.

These are strong, conventional songs full of clever flicks and feints, deliciously produced by Ed (Suede, Pulp, White Lies) Buller.

The result is an album that will make many a listener feel like the cat that got the cream.

The results are, almost inevitably, meditative and cinematic, but also, more unusually for music of this so-called 'post-classical' stripe, rich in melody and genuinely haunting, numinous atmosphere.

n the fourth decade of his career, Foxx has released an album which easily equals the high points of his rich back catalogue.

Collapse into Now genuinely feels like their first post-Bill Berry album to resemble a four-legged dog. And that, folks, is an event.

It's potent stuff.

Battle Born is a belter, an album made for bedrooms, stadiums and old-school denim jacket patches alike.

Five swoony songs, sung beautifully, no duffers, and plenty of knotty lyrics to try and unravel. Another job well done.

These four tracks--perhaps movements would be a more appropriate term--feel entirely alive, a spontaneous weld of anxious beats, the odd squirl of guitar and distortion, corrupted vocals and deep, chasmic bass.

Substance is favoured over production sheen throughout the album, with every element of each track having a definite function and no sonic fat or filler allowed.

[Silver Age is] a man doing what he does best.

It's a raw and white-knuckled collection, one which captures the phenomenal emotions of the man's solo live sets.

It's a really, really good record.

A rich, warm, big-hearted and hilarious album.

However, as the album progresses, with its mix of violins, guitar, synths and fitful percussion, a paradoxical mood and feel is established – desolate yet comforting, glacial yet warm, remote yet intimate, never more so than on Summer Fog.

While sentimental on occasion, and certainly possessed by a lovelorn spirit that should connect with all but the hardest of hearts, The Law of Large Numbers never comes across cloyingly, its content ably handled and expressed with the same cliché-free purity The Delgados mastered.