Her gift for unearthing colourful material and then delivering it with both swagger and soul is compelling. [Mar 2016, p.99]

Following the creative upswing of 2012's Silver Age and 2014's Beauty & Ruin, this is definitive work. [Apr 2016, p.87]

From thrilling and ecstatic to confounding and even infuriating-- Bailing Man's A Day Such As This, and David Thomas's vocal freakery throughout, is all of these--post-punk Ubu is one of a kind. [Apr 2016, p.104]

Their musicianship--flamboyant but never self-indulgent, focused always on the groove--and their sticky-fingered songwriting charm throughout. [Apr 2016, p.87]

Self-produced and tracked with manifest passion and finesse. [Apr 2016, p.94]

Everything feels tactile rather than crowded. [Apr 2016, p.92]

Capturing the duo's perfect balance of fan with technician, it plumbs indie music's past, inhabiting the same sonic atmospheres as the JAMC, MBV and Joy Division, but is executed with expert ability. [Apr 2016, p.90]

Production is dense, grainy and atmospheric, with Corby's layered vocals to the fore. [Apr 2016, p.94]

Few albums meld frank postcards from the psyche with such poppy directness. [Apr 2016, p.93]

Post Pop Depression is every bit as startling, both in sound, and end-of-days openness. [Apr 2016, p.86]

These 10 acoustic pieces hold a certain stillness within the variety of tempos, instruments and inspirations. [Apr 2016, p.89]

A mostly instrumental set of spiralling guitars and scalp-prickling grooves. [Apr 2016, p.96]

It reaffirms Kano's position as a consummate grime all-rounder. [Apr 2016, p.86]

Treetop Flyers have not exactly reinvented the wheel but certainly given the tyres a good kicking and come up with all kinds of right. [Apr 2016, p.89]

Worth a listen, but not game-changing. [Apr 2016, p.103]

The short length and minimal production means Untitled Unmastered occasionally lacks the dynamics of Lamar’s previous work, but it remains an enthralling postscript to his masterpiece.

Encouraged by the hazy presence of co-producer Jim James, few traces remain of his previous wood-chopping ruggedness, the singer holing up with a saucerful of secrets for Homecoming, or raising inertia to an art-form on Another Day’s time-lapse blur.

The result are suitably soothing. [Mar 2016, p.95]

The spaciousness foregrounds the band's relentless pulse and frontman Timo Kaukolampi's incantations. [Apr 2016, p.93]

A gentle record that is astonishingly timely from a political perspective. [Apr 2016, p.93]

Their debut album triumphs, thanks to how well those constituent parts complement each other. [Apr 2016, p.91]

Like families, it's appealingly chaotic. [Apr 2016, p.96]

Damaged souls taking bitter stock of what they've become. It's all here in this raw, reflective clutch, with the taste of midlife crisis on its tongue. [Apr 2016, p.92]

Johnson recorded 30 songs between 1927 and 1930, and 11 are covered here by a curious, though often great, selection of artists. [Apr 2016, p.89]

Insanely ambitious, or just insane; you decide. [Apr 2016, p.90]

It's elemental Underworld, and their most generous work in years. [Apr 2016, p.86]

Its 17 yearning, numinous essays, with lyrics that are part road trip, part inward odyssey, inhabiting a liminal, sepia-tinted sound world. [Apr 2016, p.88]

Colour Theory showcases a more lavish, studio-based approach. [Apr 2016, p.87]