Taken singularly, each step Jespfur takes here should be known to the listeners, but put together, they do come up with what seems to be his intention here – create a new sound space that is uniquely his own.

The key here is that Lightbody not only shows that she knows how to create unity behind diversity, but that she had a meaningful musical reason to take such a path, and that it all works the way it was intended.

It is an all-around Joyce Moreno show, particularly with her always incredible vocal styling that is still in full form.

With Passing Fires, Cunningham was able to come up with a varied, engaging set of jazz compositions that in many ways presents the state of current jazz.

Meleteas’ understanding and obvious knowledge of seventies soundtrack and library music in particular is exemplary, making it sound all his own.

And while Aron! himself might not be the originator Verve claims him to be, he writes and performs this version of jazzy pop almost to perfection.

As the professional and seasoned chefs always say, it is always the simple things that are hardest to make right, and Henry O Henry sure makes them right here.

It is smooth and sophisticated and you can add a few other eptithets there, or simply say it just works the way all involved intended, whether you agree about that supergroup tag or not. And you definitely should.

This bunch may be ‘bad’, but it is great and tasty at the same time.

It is those Latin music touches which Snaider applies here that work as a perfect glue that makes all the presented musical elements give the sonic picture Aquiestoy intended.

It is all shadows and light exchanging places, with shadows seemingly taking up the larger part of the scheme. Maybe just reflecting the times we currently live in.

It is an excellent take on psych pop that deserves more attention.

It is all brief and to the point here, leaving the listener to simply ask for more, or even better, repeated listening, which will constantly reveal more.

The key here is that the music of Cluster has that timeless quality, making it indiscernible whether it was recorded in 1974 or yesterday.

It is that personal synergy and understanding that seems to be that perfect, universal glue that makes it all work here, making it sound oh so familiar and oh so individual at the same time.

With all of their background and musical experience and knowledge, Haslinger & Wittman successfully turn their concept on Mallarmé into music that is both complex and understandable at the same time.

Like good painters and applying the techniques of minimal modern classical composers, the duo are able to make those seemingly minute changes in the main theme create a change that works.

It is one of those albums that unveils its subtleties with every new play, making Izzy Oram Brown rightly stand close to the top of the current singer-songwriter crowd.

It all gives her music that specific, individual touch needed to make her music work and ultimately be a drawing factor for listeners.

By choosing to go with the broader concept of recording ‘outside’, i.e., a regular, fully-equipped studio, Radford was able to hit on the sweet mood music spot that many other artists quite often miss.

It is smooth jazz that involves both things involved in the term itself – jazz and smooth (as silk).