In short, this is an impressive debut album that attests to the originality and expressiveness of its author.

It works to the strengths of each, allowing Negro and Barwick their own spaces to shine while sculpting an overall, engrossing ambience around the pair.

The pace is slow, the mood is solemn verging on the sepulchral.

The Soul Sessions Vol 2 is Stone's most focused and rewarding album since Vol 1.

Submit fully to Centipede Hz and it will infect you, quite deliciously, for the foreseeable.

If the novelty had already worn off by the time of their second album in 2005, this comeback effort tests the patience beyond breaking point.

Ultimately, there are only two stars [Doom and Jneiro Jarel] that matter on this terrific album.

Ultimately though, this one is a step up, its maker beginning to lean towards representing the sentiments of the men he stands for, developing a voice currently missing in RnB.

If there is nothing here as instantly transfixing as some of her past work, Sun comes alive on closer listening, revealing myriad depths and unexpected vocal turns.

Four may be 2012's most exciting guitar album.

Overall, The Orbserver… is lots of fun for late-period Perry fans, and will appeal to Orbologists, too.

Sometimes the production is too slick, but Morissette avoids blandness because she's so idiosyncratic.

It's an impressive feat, and a genuine reminder for those bemoaning pop's current state that challenges can still be made as long as you never stop asking questions.

There isn't a bad pop song here, and the balance between whimsy, sensitivity and boisterous fun is expertly weighted.

[The Midsummer Station is] a brave and bold addition to what is increasingly looking like a catalogue to relish.

Excessive interludes drag the runtime and make the project feel a bit unfocused--but these missteps don't subtract too much from the overall premise.

This set is a welcome throwback to simpler, gentler times.

They sometimes feel as second-hand as The Black Crowes, but The Heavy's capacity for rabble-rousing is a potent strength, which in music – if not always politics – isn't necessarily a bad thing.

Dear's fifth album sees the songwriter, keyboardist, guitarist, singer, producer, DJ and all-round clever dick making a bigger, more accessible sound.

There's nothing "next" about Ware: she's here, now, and superb.

God Forgives' best moments... are fine examples of how big-budget rap can skilfully avoid crass clichés, and even convey no little emotion.

The album's long-term problem is will it have any meaning or relevance once the election is done and dusted? Well no, probably not in thematic terms; but the scathing humour of Going to Tampa is timeless and the thunderous Guantanamo, the sort of song Springsteen must wish he'd written, will remain a classic whoever's in the Oval Office.

Appreciating this album does admittedly require time and effort, which occasionally isn't repaid... But once you've settled into it, Yeasayer's Fragrant World is a wonderful place to explore.

[Blue Moon] could be classified as a highly advanced form of lounge music.

Despite Testament's commendable attempt to spice their sound with something a little different, one can't help feeling that Dark Roots of Earth is one track short of achieving overall excellence.

It's a vast, revealing monument to the genius of Ray Davies and one of the greatest British bands of all time.

Just Tell Me presents 17 cover versions of differing quality which don't gel as a cohesive listen, but it's not without standout interpretations.

Like many a "supergroup" before them, this one doesn't quite meet the expectations that their combined reputations create.