Paolo Nutini's third album, the follow-up to 2009's Sunny Side Up and 2006 debut These Streets might be darker and grittier than its predecessors, but those depths also provide a joyous exploration of soul that highlights the full range of the Scotsman's vocal talents.
The 10th studio album from David Gray documents a strong return to form for the English singer-songwriter, who first came to attention with 1998 effort White Ladder.
If one was to judge this 34-track homage to one of pop's best songwriters merely on the quality of the compositions then, well, it's a no-brainer.
Emile Haynie (Eminem, Kanye West, Lana Del Ray) opened up his address book and dialled sufficient numbers to cram the first album under his own name with a collection of names larger than his own.
After six studio albums and a career stretching 15 years, it's a little strange that Murder By Death are not a little better known.
The debut LP from New York-based multi-instrumentalist Elliot Moss is a sparse affair, rife with tender electronic burbles and hushed vocoderised intonations sprinkled with the most subtle frosting of guitar histrionics.
When Lemmy croaks about ''looking into the face of death'', it's pretty clear that the loudest pensioner alive has no intention of turning his up toes.
Finger-clicks, clarinet, trumpet and plenty of sax and sass equals an album that aims for the heart via its swing-infused grooves and the head via its understated jazz complexity.
Wolfmother, which is essentially just Andrew Stockdale these days, is so gloriously Sabbath-derivative that you have to admire it.
The '70s loom large on Kevin Morby's third solo album, but his strength is making the Americana canon of singer/songwriters seem fresh and vital.
The fifth album from singer Alison Mosshart and guitarist Jamie Hince, otherwise known as The Kills, locks into a vibe largely based on bluesy vocals and spare, grinding riffs.
The third album by Justin Vernon is underscored by an irony: that by using technology to mangle and meld his voice, he has never seemed so emotionally naked.
If Michael Jackson and Prince were still alive, they might listen to Bruno Mars' latest and wave their hands in the air like they just don't care.
Since their debut album in 2001, Elbow is one of those bands that it’s easy to dive in and out of, confident in the knowledge that it will very seldom disappoint and very often be brilliant.
Almost two decades since Jim and William Reid broke up the band in a cloud of acrimony following 1998’s patchy album Munki, the Scots brothers have returned with an effort that mixes new songs with...
Slowdive’s self-titled fourth studio album comes some 22 years after its last effort, Pygmalion, following which the British pioneers of shoe-gaze promptly split.
Auckland-based The Bads, comprising songwriters Dianne Swann and Brett Adams, have chosen to go a bit wild on their latest album.
Enduring Australian Paul Kelly has returned to the electric guitar on his new album, which captures that magic mix of story-telling and band energy he explored with the Messengers and the Coloured...