Nothing fundamental has changed, the attack is just more scrupulous. ... Hot Snakes' caustic, erudite commentary is more welcome than ever. [Apr 2018, p.88]

Instead of a bona fide entry in either band's catalogue, chalk this up as a Dungen sidebar. [Apr 2018, p.89]

This is an album restless in its search for the new, the sound of White's reinvention in progress, scorching the Earth in anticipation of what might follow. If it misfires on occasion, it's certainly never dull. And if it never quite reaches its destination, it's still quite a ride. [Apr 2018, p.84]

Any sketchiness only adds to the impressionistic atmospheres that the musicians create. [Apr 2018, p.93]

The climax of Tumast is a trance0drone masterpiece that the band would be foolish not to stretch to its limits in concert. Only closer Ma S-Abok suggests there is a comedown side to the Saharan psychedelia. [Apr 2018, p.93]

Politically astute, philosophical and profound, Ty's comeback is a tad too long, but only because he cares. [Apr 2018, p.92]

It's to their credit, though, that this album's uncertain focus works with them, thickening the plot, rather than losing it. [Apr 2018, p.89]

While there is an absorbing, hypnotic quality to droning songs like Twilight Zone, the exceptional thrash of We're Tired Of It offers proof that a few more gear changes would have been welcome. [Apr 2018, p.91]

There's nothing here inviting enough to really convince floating voters, but Editors continue to thrive in their own dark universe. [Apr 2018, p.90]

Miranda's unwieldy new album comes across as showcasing unreconciled viewpoints. [Apr 2018, p.94]

This 18th LP is their finest since '90's Painkiller. [Apr 2018, p.96]

The Decemberists' ace and absorbing eighth album is rather more traditionalist than they're letting on. [Apr 2018, p.88]

Grant sets aside his personal dramas for more absurd theatrical antics. [Apr 2018, p.92]

The Night Sweats' woozy, loose grooves are hypnotising and are perfect accompaniment to Rateliff's gravel-worn rasp. [Apr 2018, p.94]

This promises to be a hard one to beat for fire and fury. Fela would be very proud. [Apr 2018, p.92]

With a shrewd selection of material by the likes of Tom Waits, Josh Ritter, Eliza Gilkyson, Mary Chapin Carpenter, Anohni and Zoe Milford, some effectively subtle, engagingly tasteful arrangements and an immaculate production by Joe Henry, it all sounds of the day for the day. [Apr 2018, p.95]

Thai guitar, Saharan rock give a focus and momentum; a groove underpinning the bracing freeform racket. [Apr 2018, p.96]

A mixed bag all round. [Apr 2018, p.91]

Byrne filters grace, wonder and apocalyptic portent through his fractured worldview. [Apr 2018, p.95]

Even the less bristling episodes feel luminous and ecstatic, but mostly the magnificent Historian thrives on tension. [Apr 2018, p.94]

Overall this is vivid testimony to art's elevating power. [Apr 2018, p.102]

This new project from Shearwater's Jonathan Meiburg signals serious sonic intent but wears its experiments lightly. [Apr 2018, p.96]

it's uncompromising stuff, but these unsung horrors are unsung no more. [Apr 2018, p.92]

Album four reverts to their initial template of hyper-melodic, lyrically skewed, synth-pop. ... Back on form. [Apr 2018, p.87]

The result is an album that goes far beyond emulation or pastiche to capture the emotional heart of a strange and elusive film, soaring from rapturous highs to quiet, introspective lows, vital romantic life undercut by a melancholy twilight sadness. [Apr 2018, p.89]

Cocoa Sugar is an audacious high-wire act which captures them at a potent peak. [Apr 2018, p.91]

The slightly muted beats across Record suggest the memory of good times, but the joyous flash of self-recognition on Dancefloor shows they are far from over. [Apr 2018, p.95]

Mimicking the band's whole existence, it flickers between light and shade, its clouds fast-moving, sunshine blotted out before it breaks through. [Apr 2018, p.88]