The end result is dark and desolate, but also profound and provocative. [May 2019, p.86]

It's all propelled by an energy exclusive to debut albums, the five-piece pulsing with post-punk fervour. [May 2019, p.89]

Good use of pot-banging percussion and swanee whistle electronics. [Mar 2019, p.99]

Hearing the acoustic demo for In The Heat Of The Morning, you have to feel for Bowie. Without the fussy grooviness of the studio version, it finds him in revelatory, limbering-up-for-Ziggy mode. ... The most significant discovery is Goodbye 3d (Threepenny) Joe ... soft-voiced and 12-stringy, it's a tail-between-the-legs yarn with choruses sung with a hard-boiled intimacy worthy of John Lennon. [May 2019, p.103]

Within the framework of 10 solid soul arrangements, the benefits of constancy in love brings a hearty restorative to the downtrodden spirit. [May 2019, p.92]

A similar debt to motorik beats turn this debut album from a potential Baggy cul-de-sac into an electro-gliding beauty. [May 2019, p.93]

It took the reformation of Three Hypnotics, his first band, to get his groove back. It's fully maintained on this second RM album, in gale force determination, resolution and incision. [Apr 2019, p.95]

She's better shifting gears beyond her stylistic bounds. [May 2019, p.89]

Most of these 11 new songs begin with Tutlle's solo finger-picking guitar, and it's lovely. So's her voice. [May 2019, p.90]

While the line-up expands for Candace Of Meroe's infectious drunk-funk and CIYA's breezy romanticism, it's the original trio that smash the joint on throttling finale LDN's Burning--a short, sharp distillation of the fierce talent lighting up the capital. [Mar 2019, p.93]

They push forward by recasting the music around them and assimilate it into who they already are. [Apr 2019, p.88]

Titanic Rising is a revelation. These opulent, sculptural songs have sacrificed none of Mering's idiosyncrasy, or ability to unnerve. [May 2019, p.87]

A profoundly sad and affecting collage of memory and longing, ghostly torch songs half-buried in the claustrophobic electronic clatter of the modern world. [May 2019, p.95]

There's a great live feel, especially on the more uptempo cuts. [Apr 2019, p.90]

What follows in this set is a chaos of experiment and assigned alliances. ... Ironically, the oldest recordings on You're The Man are--that single excepted--among the best Gaye here. [May 2019, p.100]

A very fine album. [May 2019, p.94]

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]