Millennial inertia is a target--see ‘It’s All Good’ and ‘Nobody Cares’--but their bite is balanced with blear and bounce in equal measure.

Fixers--a new five-piece experimental pop act from Oxford--have what it takes to enter the fray.

These 12 pieces of crackling, thrumming electro, dub, techno and other less-definable rhythms are held together by a certain warmth, a love of the crisp sounds that make them up, and by adherence to the groove. [Apr 2018, p.92]

The finest moment is ‘Fantasie Mädchen’, a manic banger on which Gudrun Gut provides borderline psychotic vocals.

There are echoes of recognisable genres here, but the overwhelming sense is of a burned-out mind, muttering freaky things to itself, as sounds fizzle and char around it. Yet somehow, as the rhythms chatter, vocoders sing hymns to deviant gods and the synths melt, it sounds like something you want to get involved with.

It’s not always entirely straightforward listening, but when it comes together--like on the military march-meets-indie/techno schaffel of ‘Selling The Shadow’--it’s a timely reminder of Weatherall’s knack for putting smiles on faces

It’s reminiscent of that doyenne of experimental electronica, Laurie Anderson--and that’s a heck of a compliment.

The tracks without vocal turns are left feeling slightly lacking, but the killer outweighs the filler.

Greene has spoken of striving to create a paracosm himself with his lyrics, although his stoned drawl often renders them indecipherable. Still, they add to the sunlit, woozy, mysterious world that Washed Out has built.

Despite falling short of its higher-octane predecessor, this difficult second album isn’t without its moments.

Providence is a jittery robot trip-out, but it’s full of juicy strangeness that will find favour with both fans of both techno and oddball electronica.

Tender, beautifully melancholy urban electronica.

An album based on the carillon, a peal of bells played using a keyboard similar to a church organ, fused with gentle synth phrases, motorik rhythms.

Is it a fun, well-selected mix to throw on at a party and dance to? Yes. And, sometimes, that's enough.

There’s enough in the graceful deep techno and misty synths of ‘Far Away From A Distance’ and the subtly jacking ‘Flying Or Falling’ to satisfy both head and feet.

Tracks on The Triad are often busier, denser and more wild than their predecessor. Gone are the carefully layered compositions and _sparse wintry landscapes and arrived have more free flowing jams.

An LP of grown-up electronica that--like John Grant's 'Pale Green Ghosts'--boasts song-writing with serious crossover potential.

A pretty heady blend of neo-soul, funk, jazz, boom bap and house, but overall things veer a little too close to the vanilla here. [Apr 2018, p.91]

Viewed as a showcase of reinvention The Feast Of The Broken Heart is a success. Judged as a cohesive album, it’s far tighter than their previous long-player and repeat listens do indeed find new, exciting depths and melodies at play.

AlunaGeorge could well be challenging old touring partners Disclosure for pop crossover supremacy this summer.

On some songs it feels like it’s still an experiment in progress--it’ll be fascinating to see how they evolve on the live stage and in remixes--but just as often, Orton is absolutely on top of her game.

At times the LP’s nostalgic outlook can be all-consuming, The likes of ‘Memory’ and ‘Vacuume’ do lighten the tone, but it would have been nice to see Haley also tackle darker timbres more often, as he does on ‘Syrthio’ and the title track.

Occasionally it's awkward, but for the most part it shows there's still plenty of life in the old Head yet. [Apr 2018, p.91]

Dillon's rustling electronics plink, twitch and occasionally spin out, set apart by a cutesy vocal style and eccentric lyrics that sound a bit like a baby-voiced Kate Bush.

It's kind of unexpected, but Brackles has created a sunny storm.

Thanks to the string 'n' bass-fuelled opener 'Hood Wink', the Lykke Li-ish 'Don't Go' and the super-slow marriage of synths 'n' rave on the title track, these '...Gardens' continually bear fruit.

All in all, an impressive album.

The man who won a BAFTA for his soundtrack to Broadchurch stitches his own sombre and beatless exclusives into rainy, greyscale pop, intimate ambient and frosty bass like it ain’t no thing beautiful.