Rhythmically dense is the result. [Jul 2015, p.93]

This is killer stuff, with Randolph providing a supply of unbelievable sacred steel licks. [Jul 2015, p.92]

Canny, foundation-shaking urban pop. [Jun 2015, p.91]

You can't accuse Powers of resting on his laurels--although it's at the expense of some of that first record's unique character. [Jul 2015, p.91]

Loyalty retains the humble immediacy of its predecessors. [Jul 2015, p.90]

Listen too close to the lyrics and you'll often detect a dispiritingly autopilot misanthropy.... Lose yourself in the music, though, and Cherry Bomb reveals a fevered charm. [Jul 2015, p.89]

The results here are extraordinary. [Jul 2015, p.88]

It's the sound of a band at the absolute peak if its powers. [Jul 2015, p.100]

This mini-LP ladles grooves on PDS's stripped post-punk. [Jul 2015, p.96]

The dreamy riffs swirl amid powerful songwriting smarts, and melodic hooks abound. [Jul 2015, p.96]

This is less organic, more brittle, and electronic than before and begs to be opened out in a live setting. [Jul 2015, p.93]

This is a radical musical departure, certainly, but one that affirms the assured versatility of a singer/songwriter whose talent knows no boundaries. [Jul 2015, p.92]

Sumptuous, but still challenging. [Jul 2015, p.92]

There's nothing here to match their gonzo 2003 hit I Believe In A Thing Called Love.... But there's still laugh-out silliness. [Jul 2015, p.92]

Some of Herbert's most engaging work since 2001's Bodily Functions. [Jul 2015, p.91]

More confident that last year's transitional Drop, this new line-up's second album together finds Nick Murray's drumming busy and complex, but thrillingly so, lending sophistication to the band;s trademark trash-psych. [Jul 2015, p.91]

The 6ft 5in, broad-shouldered Gibson finally sounds the part. [Jul 2015, p.90]

Beneath The Skin becomes a cautionary take if how going for "affecting" can end up just terribly overwrought. [Jul 2015, p.90]

There's enhanced pop acumen and elemental shivers too, so maybe make that the new Lykke Li. [Jul 2015, p.89]

Get past the geriatric sniggering of It's All Going To Pot, here's a beautiful album of covers and new material. [Jul 2015, p.89]

Black Age Blues is satisfyingly solid and reassuringly familiar a comeback as you'd expect. [Jul 2015, p.89]

On over half of the songs, the marriage works.... But the titles and the lyrical obsessions are generally those of the Sparks oeuvre. [Jul 2015, p.89]

How Big, How Blue, How Beautiful is more lyrically direct and honest, even if the lure of The Big Music remains strong for Welch. [Jul 2015, p.87]

The grown-up Ash remain every bit as irresistible as the pop-punk pups. [Jul 2015, p.87]

A forward-looking treat. [Jul 2015, p.87]

There's a playful quality to the chunky adrenalin-soaked fuzz the duo create. [Jul 2015, p.86]

In Colour really comes into its own when Jamie xx gets abstract and confounding; where his ability to conjure something wonderful from mosaic, non-linear paths is most evident. [Jul 2015, p.84]

An album that plays too safe in its thirst for hits. [Jul 2015, p.110]