This week’s new tracks
Mac Miller | Pitbull | Poppy & The Jezebels | Spector | School Of Seven Bells
The Great Escape – review
With massive queues to see the big artists in Brighton, the most appealing perforances were off-piste, writes Alexis Petridis
Grimes – review
The sense of impending chaos adds to Grimes' magical charm, but Claire Boucher is definitely in control, writes Dave Simpson
Cover Drive: Bajan Style – review
Bajan quartet Cover Drive might be just the band to revive the tradition of the summer dancehall hit, writes Alex Macpherson
Poliça: Give You the Ghost – review
Ryan Olson and Channy Leaneagh's lovelorn, electronic R&B veers between styles, and between hits and misses, writes Charlotte Richardson Andrews
Jack White; Santigold – review
Jack White's new six-piece backing band are a match for the White Stripes, while Santigold's poppier direction is still thrilling, writes Kitty Empire
Death Grips: The Money Store – review
Experimental hip-hop types Death Grips tone down the aggression a bit for their major label debut – but it's still hard work, writes Alex Macpherson
THEESatisfaction – review
The female duo from Seattle weave beguiling spells of soul-inflected hip-hop positivism that recalls Tribe and Erykah Badu, writes Ian Gittins
Young Jeezy – review
There's bling but little bloat as Jeezy rat-a-tats through more than 20 tracks in under an hour, but he's seductive, too, writes Graeme Virtue
Santigold: Master of My Make Believe – review
Santigold's hard-fought second album falls somewhere between MIA and Florence Welch, writes Kitty Empire
Santigold: Master of My Make-Believe – review
Santigold might have kicked off the trend for all-out sonic eccentricity in modern pop, but she sounds strangely subdued today, writes Rebecca Nicholson
Dawn Richard: Armor On – review
Long-time Diddy protege Dawn Richard is blossoming creatively, and setting the pace for modern R&B in the process, writes Alex Macpherson
Lauryn Hill – review
A restless Hill puts on the exact opposite of a nostalgic singalong with a rough, electrifying performance, writes Alex Macpherson
Sun Araw & M Geddes Gengras Meet the Congos: Icon Give Thank – review
Dub and psychedelia combine to fine effect on this trippy pairing of the Congos with a cosmic duo, writes Kitty Empire
Nicki Minaj: Pink Friday: Roman Reloaded – review
Tom Ewing: Some want Nicki Minaj to play up her hardcore side; others love her as a pop star. Her solution? Give 'em a bit of both
Rick Ross – review
It's subtle as a sledgehammer, but Rick Ross's gangsta-rap panto is entertaining enough, writes Ian Gittins
Odd Future Wolf Gang Kill Them All; Drake – review
Odd Future fail to be as insurrectionary as promised, while Drake carries off his thoughtful R&B with some panache, writes Kitty Empire
Odd Future … – review
Patented Odd Future chaos made up for the muddying of their individual talents on stage, writes Mark Beaumont
Labrinth: Electronic Earth – review
Labrinth's claims to be earth-shatteringly original are belied by the same old auto-tuned vocals and rave synths, writes Alexis Petridis
Drake – review
A sea of Fake-Baked girls and Dalston hipsters got very excited about this tormented figure pacing the stage, writes Alexis Petridis
Breton: Other Peoples’ Problems – review
Breton aren't a band, they're a multimedia arts collective spawned by squat culture – and they certainly sound like it, writes Michael Hann
Sly & Robbie: Blackwood Dub – review
The world's finest rhythm section return with an excellent new album that harks back to their hardcore dub days, writes Robin Denselow
Estelle: All of Me – review
Estelle seems split between her loyalties to London and New York on her new album, writes Caroline Sullivan
Grimes: Visions – review
Claire Boucher's third record as Grimes, but her first to get a large-scale release, is smart, funny and eccentric, writes Rebecca Nicholson
Azealia Banks; Sharon Van Etten – review
Harlem rapper Azealia Banks is a talent to watch, while Sharon Van Etten recalls Throwing Muses' best work, writes Kitty Empire
Robert Glasper Experiment: Black Radio – review
Robert Glasper ropes in a starry roster of hip-hop and R&B names to bridge the gap between jazz and urban with great skill, writes John Fordham
Nicole Scherzinger – review
Scherzinger's set suggests she is a club-level performer who has been elevated beyond her capabilities, writes Caroline Sullivan
Labrinth – review
Labrinth has been called the Heston Blumenthal of music, and this description is earned by Climb on Board, a gleaming pop-rap fusion buried under a landslide of jungle beats, writes Ian Gittins
Gotye – review
Gotye has so many ideas that no song sounds like another. He and his four-piece band pile genre upon genre and sample upon sample, writes Caroline Sullivan
Speech Debelle: Freedom of Speech – review
The followup to Speech Debelle's Mercury prize-winning debut is a pleasantly surprising in parts, but still pretty patchy, writes Rebecca Nicholson
Maverick Sabre: Lonely Are the Brave – review
Maverick Sabre's winning blend of soul, hip-hop and reggae is gritty yet commercial, writes Killian Fox
Maverick Sabre: Lonely Are the Brave – review
Despite some lyrical clunkers, Lonely Are the Brave isn't a disgrace, and the Maverick can really sing, writes Dave Simpson
The Internet: Purple Naked Ladies – review
Odd Future member Syd Bennett voyages to the outer limits of R&B on this deeply strange album, writes Alexis Petridis
Soweto Kinch – review
It was smart programming at the eXplorations festival, offering audiences alternative ways into jazz each night, led by Jay Phelps, Soweto Kinch and Alex Wilson, writes John Fordham
Gym Class Heroes/Stooshe – review
The fabulously voiced Stooshe evoke a flashier, trashier Sugababes, while Travie McCoy is a commanding presence for Gym Class Heroes, writes Caroline Sullivan