This small brick of a box set housing 22 Isley Brothers albums, many of them essential to any soul-funk library, astonishingly does not include something like a dozen tracks that any sane person would suggest were key to the band's story. This is not a complaint, merely a fact to illustrate the broad sweep of their career. [Sep 2015, p.104]

While other Clansmen excel are building intricate metaphors and vivid storytelling, Method Man is all about swaggering confidence and masterflow flows. [Sep 2015, p.93]

Lyrically, beating the odds and ultra-violence remain fecund topics for Lemmy. [Sep 2015, p.86]

The Cardiff-LA pairing might be creatively equal, but the sound they make is beautifully out of balance. [Sep 2015, p.93]

This is restrained music-making; a slow-release capsule of languid grooves, haunting vocals and crafted songwriting. [Sep 2015, p.93]

Channelling prog ambition, punk attack and all the daring of Krautrock, Pere Ubu were extraordinary. [Sep 2015, p.103]

While the boisterousness that made 2006 single Chelsea Dagger so welcome on the terraces of Stamford Bridge is successfully repurposed on Baby Don't You Lie To Me! and Too Much Wine, and Thief motors like Lady Madonna on Stevie's Higher Ground, other fruits of this reunion with producer Tony Hoffer--see the mellotron-mangled Rosanna--soon sour. [Sep 2015, p.94]

A vessel for unsettled emotional truths. [Sep 2015, p.95]

There's very little talking and the music is powerful and gentle, thoughtful and utterly riveting. [Sep 2015, p.101]

Songs filled with rustic, caught-between-light-and-dark country metaphors. [Sep 2015, p.95]

The songs remain brilliantly elliptical surveys, often of contemporary America. [Sep 2015, p.103]

Hidden Fields finds Lawrie drifting back to his black-denim roots with five tracks of distortion heavy, song-based sedation.[Sep 2015, p.92]

The techno seedlings that before poked through the soil sporadically now burst into full bloom. [Sep 2015, p.93]

Like Lamar’s grandstanding To Pimp A Butterfly, the numerous strands of Compton: A Soundtrack take time and effort to fully unravel, but the rewards are manifold.

The concept is a bit arch and it's easy to get overly trainspotterish with this kind of venture.... apart frim some obviously recognisable moments it sounded like a quality Yo La Tengo album. [Sep 2015, p.88]

They can't always resist their old ways, as autumn processional PPP shows, but Legrand's vocals feel sweeter and closer. [Sep 2015, p.87]

There's nothing bland about this fervid, ideasy album. [Sep 2015, p.90]

Though the results are not always easy to take.... The sense of folk and country pervades each and every performance, saving the day. [Sep 2015, p.90]

Golden Ticket is a diverse treat. [Sep 2015, p.93]

More spacious acoustic currents entwine to create softer, calming reveries every bit as difficult to resist. [Jul 2015, p.90]

Baobab fans will love this, though the Massako tracks have audible distortion. [Sep 2015, p.101]

Their anarchic spirit is captured over the original LP's 11 tracks. [Sep 2015, p.92]

Maker's vocal may be Thom Yorke-like, falsetto lift0-invcluded, but that equidistant spellbound bittersweet spot is Aero Flynn's outright. [Sep 2015, p.91]

It's all muted lust and seductive Scandi sophistication. [Sep 2015, p.92]

Songs and melody remain paramount in this irresistible Technicolor world. [Sep 2015, p.88]

Occasionally there is so much going on it's dizzying--haunting, vulnerable You is a welcome break. [Sep 2015, p.92]

The glitchy electronics hard shield his soulful voice, but on tracks like Corner the digital pulse yields more human warmth. [Sep 2015, p.95]

At once spooky and playful, romantic and angry. [Sep 2015, p.89]