With musical modes brilliantly elevated by his occasional producer David Mansfield, Wainwright nails the exigencies of old age through the medium of rockabilly, the quest for parking spaces in Manhattan via cabaret klezmer, and the gloating joys of i-ding a faithless girlfriend dead in a deep freeze with cheery Vaudeville sing0along. [Aug 2014, p.90]

Brace yourself. This album is more clinging than quicksand, it is uncompromising, transcendent voodoo. [Sep 2014, p.92]

Knitting it all together, Lustman pens some melodic vignettes of considerable beauty. [Aug 2014, p.91]

Fade-outs on six of the songs suggest a studio-jam approach that works well, but some of the best tracks are the ones that shirk blues idioms. [Aug 2014, p.90]

Hypnotic Eye mostly returns to their earliest days of razor-edged guitars and garage rock.... The listless You Get Me High and Burnt Out Town's clunky blues may let the side down, but it feels good to finally have the real Heartbreakers back. [Aug 2014, p.94]

The hefty production complements a moody selection of songs about bullying, Italian Soccer and1960s London. [Jul 2014, p.93]

Deftly delivered and heartfelt, a career high. [Jul 2014, p.95]

The feel is antique and wearily repetitive. Only the sexed up Wicked Way and the deft and tender Little Pixie, about her baby daughter, offer any light and shade. [Jul 2014, p.92]

Dinosaur Jr, Screaming Trees and GBV overlap on this Venn diagram of melodic powerpop. [Jul 2014, p.96]

Blue-eyed soul with a gritty bite. [Jul 2014, p.96]

[Miles Whittaker and Andy Stott] summon Northern Industrial music's ancient frequencies to produce a dense hypogeal noise. [Jul 2014, p.96]

Intelligent, pan-generation pop you won't mind taking your teenager to the O2 to see. [Jul 2014, p.96]

The most maligned period of his career, the 80s still served up the odd Dylan gem and 17 are re-ignited here. [Jul 2014, p.96]

A little loosening up might help those serotonin levels. [Jul 2014, p.96]

The overall effect is more organic and rock. [Jul 2014, p.94]

An album of alluring dignity and depth. [Jul 2014, p.93]

Wonderful. [Jul 2014, p.93]

File next to the Super Furries' Mwng as a landmark album for Welsh-language pop. [Jul 2014, p.93]

Punchy, seductive, surreal. [Jul 2014, p.92]

Love Frequency feels overly polished and not entirely convincing. [Jul 2014, p.91]

It sags a little mid-show, during the numerous elongated versions of 45:33, but epic, celebratory readings of Losing My Edge and Yeah (Crass Version) are not to be missed. [Jul 2014, p.90]

As the plot inexorably winds on to its tense denouement, the depth of tempest's storytelling ensures the album yields more with each further play. [Jul 2014, p.88]

This is Toumani's best work since 200o8's The Mande Variations. [Jul 2014, p.88]

Inventions contains enough streamlined electronic uplift to force your emotions into an altered state of ecstatic euphoria. [Jul 2014, p.88]

Despite its experimental provenance, Wysing Forest is a cohesive, multi-layered collection. [Jul 2014, p.87]

Heartstrings is a succinct outing that charms. [Jul 2014, p.86]

The songs effortlessly stand alone. [Jul 2014, p.86]

If the band's 2012 debut for the label, 119, attracted a certain amount of criticism from early-day fans due to its diversity, then No Peace is a more cohesive record. [Jul 2014, p.86]