Adam Mills (a.k.a. A Skillz) is taking over the U.K. one house party at a time.
Progress is by far the smartest record that Barlow and company have put their name to.
This is an album riddled with clichés and fraught with unconvincing cries of rebellion.
Where the first Ultimate Ninja Storm had the player find their way from villain to villain through a number of mini-games, the latest introduces, to its detriment, a world map for us to explore.
Despite its top-notch instrumentals and über-polished production, The Lady Killer stands out for Green’s breathtaking vocal performances.
It’s clear from a very early stage that this isn’t merely a slapdash Halloween-themed frolic, and we’re not cast into these zombie-infested plains without any reasonable explanation.
Jamiroquai’s latest is a calculated effort to return to a more organic funk sound.
Players will certainly think twice before running around like a headless chicken, given the sinister surroundings and the numerous traps waiting for them around each corner or closed door.
There are very few artists with the desire to experiment with their sound during the twilight of their careers, and even fewer with the ability to do so convincingly.
Labour or Conservative? Pepsi or Coke? Blur or Oasis?
Though it’s little more than your standard gothic fantasy yarn, it proves engrossing enough, and is wrapped up with a cunning plot twist at the death.
The Travis frontman delivers a sumptuous collection of low-key ditties that should further cement his legacy as one of Britain’s most bankable songwriters.
With such a large number of producers behind the mixing desk, it’s impossible for I Am the West to conform to a consistent style.
One suspects that Manic Street Preachers’s rallying may fall on deaf ears.
Who We Touch works best when the Charlatans revel in their sense of adventure.
Regardless of his modus operandi, Kon will be remembered as a visionary and an unrivaled animation director.
The Bluetones throw around beguiling riffs and warm refrains for what is their most earnest pop record to date.
You couldn’t help but sympathize with the event DJs at the Manchester Academy last Tuesday night.
Richard Ashcroft is far too young to be calling time on his career just yet.
Butterfly House is without doubt the band’s most mature work to date, and perhaps they’re most polished too.