Overall, it misses Hot Chip’s outsider appeal completely, coming off as whingey and middle aged. Don’t bother.

A debut brimming with bile.

There are sparks of new wave brightness and Beatles lustre, ensuring an album about uncertainty and dejection remains beautiful throughout.

Weatherhouse properly uncovers Selway as a compelling songwriter.

This follow-up to April’s excellent ‘More Than Any Other Day’ debut is a scattergun 24-minute journey, and its every destination is a delight.

s. The result is a delightful tribute to The Beatles and a record that has made so many turn on, tune in and drop out.

Barring a late collapse into soft-rock mush on the drifting ‘This Love’ and weepy ‘Clean’, Swift’s plunge into pop is a success.

It’s a shame the saccharine musical backing too often makes it hard to empathise.

Soused manages to feel understated and ripe for listeners to engage with entirely on their own terms.

A sullen and graceful record that brings out the very best of the gruff veteran.

A little bit new, but mostly the same, then. The Best Day is the refreshing sound of Moore addressing familiar musical themes with renewed energy.

The sound has clearly dated, and John Cooper Clarke’s guest vocal on ‘Let You Down’ feels phoned in, but uptempo limbshakers ‘You’re So Good For Me’ and ‘Changes’ are as solid as anything they did 20 years ago.


Their first record is good; their next could be mega.

While Tyranny is wildly self-indulgent--and often at the expense of quality - you could never say that it's boring.

Rips is a reminder of rock’s glorious communal potential.

Interesting but inessential.


Twinkly epic 'Cruel' is especially outstanding, while collaborations with Dev Hynes (‘Want Your Feeling’) and Miguel (‘Kind Of… Sometimes… Maybe’) save the latter half from drifting too far into languid MOR ballad territory.

Largely, Trick measures up as a solid modern dance record and bears no trace of Bloc Party, proving that a lot can change in nine years.

There’s an Afro-funk air to the bouncing ‘Money Man’, while the languid ‘Mary Mary’ offers some chilled Orb-style breathing room during one of the most joyful dance releases of the year.

The shortcomings of Bainbridge’s own vocals, which sometimes lack soul and are rarely memorable.

This is that rare music that genuinely deserves the descriptor ‘visceral’: sonic body horror that comes on like avant-garde composer Diamanda Galas scoring David Cronenberg.

They normally strike a few bullseyes per record though, and so it is with Hold It In.

...And Star Power is the sound of record-collection rock having a nervous breakdown.

Although inescapably discomfiting, the music’s complex textures keep the listener snared.

The Moog returns here, but 'Suns'--two minutes of busted TV static--is an inscrutable opener.

Bazaar elevates Wampire alongside those bands, while retaining the skewed oddness that made them so likeable in the first place.

It’s no Pinkerton, but Weezer, finally, are back on track.

At 18 tracks, Aquarius may be overstuffed (the ambient interludes offer little) but it’s an impressive statement that should elevate Tinashe far beyond the hype that has surrounded her mixtape releases so far.