Adrift in a sun-warped dome of guitar wah, wobble and dub. [Apr 2015, p.89]

Badwan and Zeffira have done him [director Peter Strickland] proud. [Apr 2015, p.89]

The first half of this Bristol-based quartet's debut is too idolatrous, but the second plunges into deeper cavernous spaces. [Apr 2015, p.89]

More than the sum of its parts, the whole is wonderfully fresh and quite lovely. [Apr 2015, p.89]

Despite their meticulous craft, these songs don't feel like curated artefacts--they feel raw, unquiet, still moving. Vulnicura might tell an old story, but it still feels new. [Apr 2015, p.87]

This fourth album's a gas. [Apr 2015, p.86]

Both otherworldly and intensely human, it's hard to resist THEESatisfaction's singular charms. [Apr 2015, p.95]

Pleasing, odd. [Apr 2015, p.98]

It's quite a departure from their trademark psychedelia. [Apr 2015, p.98]

The current group are concentrated, powerful, more subtle than in recent times but can sound a bit tidy and foursquare. [Apr 2015, p.96]

The swell and squall lets up just once, on the transcendental In A Cloud, but it's in the moments of pure sonic abandon, like Wilding, that the group truly find themselves. [Apr 2015, p.95]

A gloriously nuanced embellishment of the band's timeless virtue. [Apr 2015, p.91]

This brittle, torrid world has little light and shade. [Apr 2015, p.89]

This is impressive, soul-bearing torch-pop, yet despite some bravura vocal performances, Almond's typically declamatory delivery at times, feels rather awkwardly appended to the airlessly slick soundscapes. [Apr 2015, p.91]

Rebel Heart is the first Madonna album for a while that's at least as much for listeners as it is for dancers. Sometimes this shines too hard a light on what she has to say. [Apr 2015, p.88]

Kaleidoscopic yet reassuringly familiar to '80s indie fans. [Apr 2015, p.98]

A personal statement that is simply too accomplished to fall into pastiche. [Apr 2015, p.96]

You're left with dual perspectives that aren't quite duets, anthems of vague disquiet, and an utterly satisfying sense of an artist following his own directs and nobody else's. [Apr 2015, p.95]

Its 11, quietly assured alt-rock growers let Ben Gibbard's appealingly detached vocals and quality-controlled lyrics do the heavy lifting. [Apr 2015, p.94]

Notwithstanding the occasional banjo and flute intrusion, in essence this remains flamboyant, '60s-tinged guitar pop, forever poised equidistant between accessibility and inscrutability. [Apr 2015, p.93]

The new wave veteran's magic touch has left his current charges' blend of plaintive pop and indie-punk edginess a tad shinier but otherwise safely intact. [Apr 2015, p.92]

It's an engaging, sometimes beautiful step forward. [Apr 2015, p.92]

Knopfler retains his latter-years Celty-folk musical tone, with that measured guitar flicking in a sun-through-misty-woods way. This doesn't make for memorably distinctive songs, but his storytelling sharpens almost every track. [Apr 2015, p.91]

There's beauty and imagination aplenty here--but maybe a slight whiff of Pseuds Corner, too. [Apr 2015, p.91]

The singer-songwriter's fifth is no less over-reaching and torrid in its back-story [as 2013's Once I Was An Eagle]. [Apr 2015, p.90]

Fantasy Empire buzzes, drills and throbs with a brutal power that is relentlessly, terrifyingly exciting. [Apr 2015, p.89]

This is one heck of a wild and beautiful ride. [Apr 2015, p.89]

Even six listens in, this record offers few easy hand-holds. [Apr 2015, p.88]