Knowingly nostalgic, it's an album with a very strong sense of itself. [Sep 2017, p.86]

Despite the eclectic material, the slow tempos and monochrome tone gets wearing. [Sep 2017, p.94]

A taut, fraught dalliance with '90s trip-hop melancholy vivified by spidery Sisters Of Mercy-esque guitar figures and a gruff cameo from Massive Attack's Daddy G. [Sep 2017, p.91]

It's a long time since Kelly drank at this well, and Life Is Fine is a deep, deep draft. [Sep 2017, p.90]

It's both organic and future-facing. A true metamorphosis, this album sees Queens Of The Stone Age shedding an old identity to discover new ways of playing the same song. [Sep 2017, p.84]

The results are patchy. [Sep 2017, p.92]

It might not look like it's going to leap out and grab you, but Beam here launches a soft emotional ambush. [Sep 2017, p.87]

The end result is a triumph; a late-night drive that starts somewhere in '90s Michigan but arrives home, in a gloriously disorientating future. [Aug 2017, p.90]

No 11-minute epics this time, but there are two stand-outs: Neil Young-esque Cumberland Gap, and Airplane, as hypnotic and moving as anything on The Harrow & The Harvest. [Sep 2017, p.92]

Baobab Tree's bossa nova sway, the title track's lounge vibes and Lo Mas Dulce's electro-Tropicalia weirdness impress. [Jul 2017, p.96]

While Foreign Light trades some of his past eclecticism for a super-soulful hook-up with singer-songwriter Andrea martin, his acute ear for sasquatch basslines and simpatico collaborators remains undimmed. [Sep 2017, p.91]

It's defiantly uneasy listening, becoming more uneasier still when No Help Pamphlet comes in sounding like a lost Badly Drawn Boy Song. [Sep 2017, p.88]

Bright Phoebus turns out to thoroughly deserve its reputation as a milestone in British folk rock. [Sep 2017, p.104]

Hook-packed mini-album, direct first-person narratives are sung with knowing sweetness over sunny guitar classicism. [Sep 2017, p.96]

Woodland Echoes is an unhurried album full of paeans to passion and nature. [Sep 2017, p.94]

The Road Part 1 is described by Lavelle himself as having "a foot in modern London"--a link that is at best tenuous. As a melting pot of disparate ideas, however, it's frequently gorgeous. [Sep 2017, p.87]

To The Bone keeps its pop and prog influences in a near perfect balance--flash and flamboyant at times but with some lovingly crafted big tunes. [Sep 2017, p.86]

A sleight of hand that transforms its low-key, elegiac ruminations into defiant affirmation of life. [Aug 2017, p.93]

FramesPerSecond is an atmospheric introduction. [Aug 2017, p.90]

This is potent, frequently explosive stuff. [Sep 2017, p.87]

Grizzly Bear sound enchanted with the pure pleasure of texture; hooks take their time to emerge, but Morning Sound and Sky Took Hold are the best entry points to this stately, meticulous music. [Sep 2017, p.90]

Ruiz's best mode is mocking fury, wielded against Trump, scene exclusivity and the consequences of silence. The leering tone makes an already fearless record genuinely fun. [Sep 2017, p.86]

A Deeper Understanding is exhilarating in places, but perhaps inevitably, give n it's long and convoluted gestation, it can at times feel like it's trying too hard. [Sep 2017, p.90]

Another point of reference is Gorky's Zygotic Mynic and it's Girl Ray's appropriation of their scherzo sensibility lifts the three-piece beyond pastiche, feeding songs such as Don't Go Back St Ten and Where Am I Now with a musical strangeness that's totally alluring. [Sep 2017, p.90]

It's a little fragmented, maybe two or three songs too short, but still brimming with his sweet-sour magic. [Sep 2017, p.88]

Its second pits their sharp improvisational wits against Evan Parker, Byron Wallen, Tori Handsley, Sarathy Korwar and Yussef Dayes. [Sep 2017, p.90]

Raft is a woozy drift between euphoria and unease. [Aug 2017, p.31]

Breakthroughs can never be predicted with certainty, but Kinder Versions is Mammut's convincing international calling card. [Aug 2017, p.90]