What it lacks in vocal grit it makes up for in abundant hooks. [May 2019, p.96]

These are acutely playful and poignant dissections of his world. [May 2019, p.87]

Greater prominence to the duo's quavering vocals, though, isn't quite as satisfying. In the long term, more jam and less song might just be their best strategy. [May 2019, p.95]

Segall's not reinventing the wheel--he's just here to keep the amps humming, as loud and as often as humanly possible. [Apr 2019, p.90]

Gibbons rises to the occasion. [May 2019, p.89]

The State Between Us offers a subtle, multi-layered but potent riposte to latter-day jingoism, the spirit of compassionate inclusion made manifest or woven implicitly into the eclectic sonic narrative. [May 2019, p.95]

There's a cohesion and thrust to the fusion, a mathematically bracing energy that they have't quite located since 2011's D. [Apr 2019, p.86]

Part II sprawls across paranoid Massive Attack-style locked grooves (Nothing To Give), ethereal folk-prog (Sun), gushing, orchestral breakbeat (Only You) and narco rock/electronica hybrid (Crucifixion/A Prophet). [May 2019, p.87]

Through the overdriven riffage, juggernaut rhythms and starey-eyed James Cox's foghorn yowling, some proper and highly dynamic songcraft does emerge. [Apr 2019, p.93]

The most coherent album Gelb has produced in some years, up there with the best of his considerable canon. [Apr 2019, p.92]

There are some serious jazz chops visible amid the instrumental chaos; a devotional intensity that earmarks them as psychedelic idealists rather than nihilistic noise-punks. [May 2019, p.91]

What Pony can't disguise is its influences: Orbison, Presley and Morrissey at their most doleful and camp, channelled through a similarly luscious baritone. [May 2019, p.91]

Piroshka's debut album is propelled by forceful, driving garage songs that see off Brexit, the Daily Mail, and school shooters. [Mar 2019, p.91]

Upbeat, sometimes painful, all sold with witty pop chutzpah. [May 2019, p.94]

Rufus Wainwright-goes-to-grad-school lushness dominates, though, and despite Bird's Death Of Marat pose on the cover, My Finest Work is not quite revolutionary. [May 2019, p.93]

Ultimately setting up camp in the middle ground between King Of Limbs-era Radiohead and mid-80s Tears For fears. [May 2019, p.86]

Building on the fresh inventiveness of 2017's Uyai, this new album cheerfully chops up and reassembles genres in a way that is seriously funky. [May 2019, p.89]

The results have a classical loveliness--track II, particularly--while retaining an air of experimental unpredictability; both players are unafraid of disrupting the reverie with free playing and fractious tones. [Apr 2019, p.94]

Yanya's music calls to mind gritty jazz/rock griot King Krule, Sampha's contemplative street soul and her key teenage influences: Pixies, Winehouse and The Libertines. Her spiky guitar playing is confidently pushed to the front of the mix here. [Apr 2019, p.86]

If 2017's Hard Love overreached, Eraserland is a successful recalibration. [Apr 2019, p.91]

Peaks: Tough Enough's flouncing post-punk; radiate's bright, Buzzcocks-meet-The Knack groove. [Apr 2019, p.96]

Only the title track's gently jazzy diversion (Pt 1) and surprise operatics (Pt 2) shatter the wellness-retreat politeness. [Apr 2019, p.96]

10-decent-but-not-exceptional songs, Sleeper ultimately sound a little anachronistic; just not made for these times. [Apr 2019, p.89]

On their best pastiches, the jokes land often enough, but you can't help yearning for something as perfectly-turned as Benny Hill's Ernie, or as ardently silly as John Shuttleworth's I Can't Go Back to Savoury Now. [Apr 2019, p.88]

A good 'un, finely balancing his roots with his modernism. [Mar 2019, p.92]

Immersive and thought-provoking record. [Apr 2019, p.87]

The constantly shape-shifting and explosive dynamics of this brutal yet accessible blaze of glory are borne from a collaboration that's instinctive, primal and alchemical, effortlessly outclassing the competition. [Apr 2019, p.88]

Chance-taking, richly rewarding. [Apr 2019, p.89]