Experimental pop that feels for the warm electronic pulse of '80s futurism. [Mar 2016, p.100]

Pulsing, hypnotic 13-minute opener Tardis Cymbals is a tough act to follow, with its primitive drum machines and rippling bassline, yet they trump it with voyages into scything death disco, bright Floydian vistas and even '60s vocal pop on Liquid Gate. [Mar 2016, p.95]

Concise, understated alt rock with cryptic, literate lyrics. [Mar 2016, p.100]

This is diaphanous pop music--perhaps overly flimsy on occasion--but full of sparkle and more variegated than before. [Mar 2016, p.97]

[The album] has no one style, no favoured musical template. [Mar 2016, p.92]

Like a turbo industrial Tears For Fears. [Mar 2016, p.98]

Collaboratively, spiritually and musically... it works superbly. [Mar 2016, p.99]

Recent world events demand some kind of visceral response, and sonically, musically and emotionally, Hidden City's primal, from-the-heart worldview represents just that, unwittingly or not. [Mar 2016, p.90]

The delightful, multi-mood Commontime is just shy of an hour, opens things out and is more personal [than 2012's Plumb]. This might be the sound of maturing. [Mar 2016, p.96]

She delivers intelligence and sensuality like she never saw a line between them. [Mar 2016, p.98]

There's no happy ever after, of course, but at least this excellent record has come out of the darkness. [Mar 2016, p.92]

If you love pop, you really have to hear it. [Mar 2015, p.92]

Of the 12 heat-seeking tunes, Daughters sounds the best bets. [Mar 2016, p.100]

Alluring, if more cold brewed latte than electric kool aid. [Mar 2016, p.100]

Wabi-Sabi is as becalmed and warm as it's wracked and haunted. [Feb 2016, p.94]

There's a warmth and careless spirit to 96, Rome and myriad others that hasn't always been there down the years, and they've seldom bettered Save You. It really is heart-warming to have them back on point. [Feb 2016, p.90]

Further evolution is needed to forge an identity from the shadows of their contemporaries. [Feb 2016, p.98]

There's a '60s simplicity that's instantly engaging. [Feb 2016, p.93]

On The Move sounds like music made with drinks in hand and wide smiles on faces. [Feb 2016, p.95]

The exceptional songs of Martin Henry are served by the trio's undemonstrative guitar, bass and drums being augmented by keyboards, glockenspiel and harp. [Feb 2016, p.91]

The trio's approach naturally invokes comparison to their forebears, but pleasingly, Night Beats are distilling a strong vintage of their own. [Feb 2016, p.92]

It is the most raw and intimate long-player in the 15-year career of this fine Nashville-via-New England singer-songwriter. [Feb 2016, p.93]

On a basic, gut-punching level they deliver with inarguable aplomb. [Feb 2016, p.92]

If Watneys Red Barrel-flavoured stompers like Roll The Balls, Watch Your Step and Bonehead Waltz are something you'd dig, this is definitely for you. [Feb 2016, p.98]

Delightfully chewy collaboration. [Feb 2016, p.90]

In The Magic Hour is, in turn, both exhilarating and exploratory. [Feb 2016, p.97]

If the alcoholic's lament Death Came teeters close to parody, then the bare-boned country pop of Place In My Heart and Bitter Memory offer some much needed respite. [Feb 2016, p.90]

It's pleasingly dizzying, yet curiously coherent. [Feb 2016, p.98]