It is no ragbag collection, even if several tunes are little more than snippets. [May 2015, p.92]

The album is a retroactive joy from start to finish. [May 2015, p.92]

White Men Are Black Men Too places Young Fathers firmly alongside Suede, Dizzee Rascal and Arctic Monkeys in the pantheon of those whose post-Mercury follow-ups confirm they know exactly where they're going and aren't going to let winning a modest prize distract them. [May 2015, p.88]

It's confirmation that the old boy's still got a few tricks in him. [May 2015, p.90]

A Fool To Care has scarcely a weak note. [May 2015, p.90]

What it lacks, however, is the quality of songwriting in his best best work from the '70s. [May 2015, p.90]

This Is The Sonics emits the same primal heat that's inspired successive generations of garage-dwellers, from the Cramps through Mudhoney to The White Stripes. [May 2015, p.90]

Policy is a dazzling execution of one man's crazed vision. [May 2015, p.91]

For a collection with an eye on the setting sun and the slow decline, it's a fine late flowering. [May 2015, p.91]

Less visceral than before, this one's a quintessential grower. [May 2015, p.91]

Ba Power is all about intensity, force and electricity. [May 2015, p.92]

This portrait of the artist might be a gloomy, oppressive one but it’s grimly fascinating nevertheless.

With O’Brien running the gamut from one-night-stand shelf lurker (No One To Blame) and post-coital dewy (Dawning On Me) to resentful (Hot Scary Summer) and widowed (Darling Arithmetic). It’s a risky exercise but O’Brien pulls it off thanks to his trademark musical economy.

We get tracks like Old De Spain and Driving After You, bare-bones blues whose satisfying menace echoes To Bring You My Love. In between, we're back to hillbilly hoots, jigs and Corrs-style ballads. [Apr 2015, p.96]

Musical Pop Art has seldom been as good. [Apr 2015, p.88]

Overall, it’s a robust, if somewhat exhausting, showing.

A powerful introduction to a compelling artistic presence. [Apr 2015, p.92]

The songs on All These Dreams luxuriate in their arrangements, swept along by gossamer strings, and silky backing vocals. [Apr 2015, p.92]

The overall vibe here us one of relaxation rather than tension. [Apr 2015, p.93]

Rich in sonic detail à la ’90s Outkast, ’00s Roots and present day Flying Lotus (whose fluid bassist Thundercat performs another star turn), Lamar undercuts his densely layered messages with acerbic ruminations on his newfound celebrity status that may prove polarising, but are never less than enthralling.

Bouquets from a Cloudy Sky is a fitting celebration of a band that, 50 years after the release of their debut, remain utterly unrepentant. [Mar 2015, p.107]

Tantalizing use of spare and mostly intelligible, always unsettling lyrics. [Apr 2015, p.98]

You can file the seven bonus alternative mixes under "interesting" rather than "essential," but the sheer magnificence of the rest remains undiminished. [Apr 2015, p.108]

There's a warmth to his rich, brown sugar baritone in stark contrast to the sharp shapes made by his keening, post-punk guitar. [Apr 2015, p.98]

McPherson puts authenticity over self-expression with style. [Apr 2015, p.96]

Even if consistency isn't their bag, Pond have genius at their fingertips. [Apr 2015, p.96]

The results are largely persuasive. [Apr 2015, p.96]

Joyland has a coherent feel of low slung rock'n'roll and Morricone twang. [Apr 2015, p.96]