[Fade's songs] blur and fade like old memories, but leave a meaningful impression.

Though the scale of these EPs isn't as wide as some of Muhly's other recent works, it feels every bit as immediate.

Pye Corner Audio's latest [is] the marquee example of Ghost Box at their most distilled, their most essential: reaching beyond by reaching within.

For now at least, the fragments are intriguing enough to keep me waiting for the next ones.

It's hard to think of a more reliable, compulsively listenable formula for new wave guitar pop romance than the one that Wild Nothing has so quickly perfected.

Bergsman's new set pieces offer no more lasting sustenance than the harder to resist but hardly nutritious candies from The Concretes' confectionery.

Life is People sounds familiar, but never tired. It's a difficult line to tread, but Fay and his guests largely pull it off.

It's one of the best live albums released by a modern "mainstream" act that I can think of. No exaggeration.

Though AUN isn't always interesting, it is a cohesive collection, and I don't doubt for a moment its suitability as the score for Honetschläger's film.

The sections of ORO are turns utilitarian and incongruously beautiful.

Sushi sounds enthusiastic but slight, with generic synths and run-of-the-mill dubstep-inflected bass lines.

Répercussions exists in a completely different universe, far removed from rock tropes, and sits comfortably within the spectrum of modern electro-acoustic and minimal composition.

For a man who long ago turned the fear of change into his best friend, it's disappointing how uneven his explorations are in Nookie Wood.

It seems cliché to say that music works on a few different levels, but in the case of Relief, it's true.

There's plenty to like in this abbreviated outing, and hardly anything to raise the hackles.

The problem with Golden Void is that it sounds so much like the Black Sabbath, with its intricate, chopped up time signatures, its big-footed riffs, its surprising facility with tunefulness even during mayhem.

Bish Bosch really is his beautiful, dark and twisted fantasy made manifest.

The best songs on Ultraísta recall the murky pop made by the likes of Broadcast, where clarity and catchiness intermingled

Like a raging flood, JSBX has picked up all sorts of things on its way down, but unlike Irene, the band has turned a jumble into something tight and precise and essentially its own.

If this is fusion cooking, they've balanced the spices well enough to come up with a dish that tastes mighty good.

Quarter Turns Over a Living Line is neither an easy, nor comforting listening, and absorbing the entire album can occasionally leave the listener gasping for air. However, as a portrait of a dystopian 21st century musical landscape, there is little better than this brand of pure British blackness.

The ingredients that make up Dark Crawler are a tasty mix, and Danjah could do worse than keep cooking with this recipe.

Ultimately, Love Will Prevail probably isn't going to win over any newcomers, but it's a solid addition to Cult of Youth's catalog; it's pretty clear by now that nobody is doing this type of thing with the gusto and attention to detail that they are.

There is palpable excitement in both the songwriting and the performance. And this energy prevents what might have been some late-stage lulls, where the riffs seem retread but the songs still feel new.

Like any good ongoing collaboration, theirs is already moving beyond its initial definition, gone past the novelty of lutist and filmmaker into something more enduringly interesting.

Matricidal Sons of Bitches frequently dazzles, but there are more than few moments of frustration along the way.

Lux is immersive, intriguing, delicate and evasive, like many an ambient record. And, inescapably, it doesn't resonate as much as Eno's groundbreaking works in the genre.

The Bears for Lunch is a far more solid affair than Let's Go Eat the Factory, balancing Pollard's Who-like aggression and Kinks-like whimsy in punchy, melodically memorable songs.