Although there is much that's familiar to Jem, Carroll and Delap bring it all together with a self-confidence that swiftly envelopes. [Jun 2015, p.91]

Fatima's Hand is like the titular middle eastern amulet, a thing of intricate protective beauty. [May 2015, p.97]

Despite the extended sabbatical, Leftfield’s muscular, invigorating presence remains undimmed.

If there are few lyrical miracles in these scattershot songs obsessed with sex, drugs and shopping, in this intuitive stylist’s mouth the words themselves are often beside the point.

Once more, Daptone has come up trumps; this is solid gold soul. [Jun 2015, p.90]

Much of the material is standard heavy fare, based around familiar riffs and embellished with solos that blaze momentarily. [Jun 2015, p.89]

Lulu sounds as vital and feisty as ever. [May 2015, p.93]

The most rounded and effervescent of the three [albums]. [May 2015, p.97]

At 12 years' distance, these Papists sound anything but straightforward, ably navigating a compositional logic every bit as nutty as Debaser or Cactus, just with the sonic derangement notched down, and the odd deft pedal-steel lick chipped in. [Jun 2015, p.102]

Golds is rich with wry psych-pop nuggetry of a kindred humour to Robyn Hitchcock. [Jun 2015, p.92]

This is music of compelling intensity. [Jun 2015, p.92]

Who Is The Sender? is effectively a set of moving, funeral-paced closing tracks addressing familiar themes--political disillusionment, morality and spiritual wonder. [Jun 2015, p.92]

Overall the feel is sparse and desolate. [Jun 2015, p.89]

On In Circles, with its plangent, Yan Tiersen-style piano, something wonderful happens--a feeling of limitlessness opening up. [Jun 2015, p.89]

Among many highlights, the best and brightest is the Guided By Voices-do-Status Quo elation of Box Batteries, an elegy for youth designed to live forever. [Jun 2015, p.88]

It's the brooding dancefloor ordnance which marks Hairless Toys as a career highlight. [Jun 2015, p.88]

The Birthday Party-esque clamour of Spit You Out further shows what Metz are capable of when they ease off the accelerator. [Jun 2015, p.87]

Constant Bop is even more eclectic [than White Denim's music]. [Jun 2015, p.87]

There isn't quite as much gleeful taboo-baiting on this second set, as they dig further and harder into the absurdity of being a young woman in America, and still make it catchy and fun as well as angry and melancholy. [Jun 2015, p.93]

The only drawback is that 16 tracks and 55 minutes feel too long for a set of minimalist adventures. [Jun 2015, p.91]

Even while eschewing the much-loved spacey dub demo interludes of earlier releases for a kind of metaphysical hard rock, all but one of these tracks are worthy additions to a now capacious legacy. [Jun 2015, p.90]

While containing only new songs, feels like a greatest hits and as such is a perfect entry point for Giant Sand neophytes. [Jun 2015, p.90]

There's little obvious mind expansion in these long-haired ruminations on modern living, but Rose Windows still have the power to lift listeners far out of the everyday. [Jun 2015, p.92]

Death And Vanilla lack only a little warmth to make submersion in their pre-digital pool irresistible. [Jun 2015, p.92]

Wildly uneven, sporadically awesome. [Jun 2015, p.92]

It's mighty good. [Jun 2015, p.93]

Kala is where the album explodes into life. [Jun 2015, p.93]

This album is brazenly in hock to the shoulder pad decade. Its telegraphed choruses will not be denied. [Jun 2015, p.88]