“A whole lot of minds have to see something invisible. The act of making music - that could be spiritual. You’re taking something that’s not physically seen and you’re bringing it from nowhere, pulling it from thin air, so people can experience it” - folk-blues-soul singer Valerie June says beautifully in the New York Times interview about new album 'The Moon and Stars: Prescriptions for Dreamers', out now. The Times likes how it’s "rich, strange and mercifully free of the self-importance that infuses so much modern music", whereas RIFF declares it a "smart, adventurous and downright joyful listen".

"A gentle, reflective album that includes songs about education, poverty and righteous conduct, providing indirect commentary on Mali’s parlous political situation" - Guardian writes in praise of Anansy Cissé's new album 'Anoura'. Written after a run-in with an armed thug, Mali guitarist's album offers a positive message in these songs of love, respect and hope for better times ahead. Roots World appreciates how "in keeping with much Malian music the percussion is minimal and understated, allowing the melodic rhythmic patterns to work across each other uncluttered and for all its tonal variety there is a fine sense of space pervading this album".

Scottish duo Arab Strap released their first album in 16 years, and critics really like it. "With lyrics that encompass the reality of ageing with all its wisdom and regrets, and with music that employs the deftness of touch that can only come with long-term honing, Arab Strap have delivered their defining record" - NME argues. Guardian likes the wittiness of it: "Coming on like a union between Sleaford Mods and Leonard Cohen consummated in a Glasgow pub toilet, 'As Days Get Dark' serves up bleakness and gallows humour multiple ways: 'dejected, deserted and drunk'". PopMatters likes it the most - "This is a record as rare as hens' teeth: a comeback that not only beats expectations but has an excellent claim to be the band's crowning achievement". Band's members Aidan Moffat and Malcolm Middleton turn back on their career for the Quietus - they chose 10 key points from their discography.

Cave and Ellis' new album 'Carnage' comes out as a slightly more structured jam session, and critics really appreciate it. Alexis Petridis argues that "Cave and Ellis’s musical approach is still vividly alive, the dense, constantly shifting sound complementing the richness of Cave’s writing now". Pitchfork appreciates the lyricism of if - "As ever, Cave uses overtly religious imagery in ways both subversive and devout". Guardian's Kitty Empire loves the "immense grief and vast love" of the album, whereas Clash Music hears 'Carnage' as something "both beautiful and visceral, tender and blood-thirsty, wholly terrifying and completely absorbing".

"It is rare to find an album that is so much more than just music and even rarer to find Black Metal that ventures as wide as Spire do so to be in a position whereby both happen at the same time and work so brilliantly is not only refreshing but also extremely enjoyable" - Rock N' Load writes in a review of Australian band's second full length. Grizzly Butts appreciates the sonics of the album: "Spire aren’t yet demanding hard rock hooks or hand-holding rhythmic statements to cling to but they have presented a welcoming, frightfully deep chasm of somewhat original vocal applications that characterize mildly dissonant, epic black/death metal architecture".

"Surrounding her voice with saxophone and fretless bass, drum loops and field recordings, acoustic instruments and new age synth, Jenkins’ accompanists mirror the conversational tone of her writing, ensuring that the revelations aren’t limited to the lyric sheet" - Pitchfork writes in the review of Cassandra Jenkins' second album (tagged it Best New Music, grade 8.3). Brooklyn Vegan thinks highly of it as well: "Warm, '70s-style folk music is still one of the big influences here, but 'Overview' also finds Cassandra embracing a sophisti-pop/indie rock blend... The instrumentals alone on this album are gripping enough to stop you in your tracks, but sealing the deal is Cassandra's lyricism and vocal delivery, which feel casual and conversational but also poetic and quietly devastating".

The third album by East London rapper "depicts honest tales of London through the art of true lyricism, a tradition that will never die out" - NME writes about Ghetts' 'Conflict of Interest', an album rich in lyrics and collaborations (and minutes - it's over an hour long). Alexis Petridis says the album "feels like the work of an artist who’s in it for the long haul rather than short-term rewards". Clash Music puts it simple: "His strongest album to date, and one of grime’s true classic".

"With haunting serenity, there is a flitting consciousness to the these brief, nightmarish lullabies that leaves you transfixed within a realm of broken intimacy" - Secret Meeting writes in a review of debut EP by New York singer-songwriter Maria BC. They are classical training as a mezzo-soprano, but their voice, hushed in pop melodies, seems to reach only a portion of what might next from them. Promising...

Critics from all over the spectrum are speaking highly about 'For The First Time', the debut album by the British septet Black Country, New Road. Clash Music places the band "in a paradox where so-called high and low art intersect", calling the album "a product of its time", promising "it will unsettle and confuse you". The Line of Best Fit appreciates the intensity of the band - "ferocious and endlessly intelligent, highly considered and wildly improvised, eked out with bristling tension". The Quietus likes how they sound - "it’s rare that a band this noisy, an album where chaos reigns, is recorded with this much clarity. There are so many different musical ideas, and none of them get lost along the way". Stereogum chose this debut for their Album of the Week, describing it as "a document of restless creativity and incisive minds processing an era of too much mediation and stimulation".

The 24-year old American guitarist Yasmin Williams on her first album invented a two-handed guitar-playing style, and on her second she found a new sound, deeply intertwined with nature, especially with movings in nature, which is suggested with titles such as 'After the Storm', 'Dragonfly', 'Swift Breeze', and 'Through the Woods'. Pitchfork says she "has a gift for penning melodies that feel as catchy as pop songs. but her approach to the instrument also allows her to confound expectations" with "memorable compositions that, even at their most open-ended, proceed in a loose verse-chorus structure" (gave her 8.0).