For all its moodiness, Careful is a glorious coming-out. [Mar 2019, p.112]

There is a richness and an oddity to Condon's output that deserves continued attention. [Mar 2019, p.112]

It's not the third coming many Stone Roses fans may have hoped for, but Ripples marks the welcome return of a solo artist who never rested on his laurels or allowed himself to be overshadowed by past glories. [Mar 2019, p.110]

It might be falling apart, but it comes together beautifully. [Feb 2019, p.115]

A raucous, irresistibly melodic collection of songs that ring with indignant, apathy-infused joie de vivre. [Feb 2019, p.112]

They haven't completely severed links with the past--the bruising Wonderful Life comes with a cameo from Cradle Of Filth squawker Dani Filth-- but mostly it's a bold leap into the future. [Feb 2019, p.108]

His music could still use an injection of personality. [Oct 2018, p.119]

It's the quality of the songwriting that really shines through here: every song is top drawer in melodic terms. [Feb 2019, p.115]

A deeply satisfying upgrade. [Feb 2019, p.115]

They manage to pack such a powerful emotional punch across these 10 tracks. [Feb 2019, p.117]

The oddball duo of Arone Dyer and Aron Sanchez rage in a noise-rock playground, sometimes using instruments handmade in Sanchez's workshop. Amid the racket, Dyer's yearning gives political screeds the intimacy of a lover's spat. [Feb 2019, p.108]

A typically quirky commentary on contemporary culture's transient nature that's also attuned to the shifting moods of modern club sounds. [Feb 2019, p.116]

This is music that's lived life and doesn't stay in the same spot for long. It's a revelation. [Feb 2019, p.109]

While these tracks have definitely been soaked in the dour euphoria that The Cure specialise in, The Twilight Sad are very much their own band. [Feb 2019, p.116]

It never sounds over-considered or a grab for mainstream success, but rather the joy of an artist relishing new territory. [Feb 2019, p.106]

This thoughtfully constructed and often enchanting record manages to mark itself out from the crowd. [Feb 2019, p.110]

No new ground is broken here, but Tallies map their well-worn journey with a sure sense of direction, songwriting skills cutting through the dreamy fog. [Feb 2019, p.116]

It's well worth the wait. ... Boone's smoky vocals fit the desperation of Vlautin's mini-dramas perfectly, the band's country-soul swing evocatively solid. [Feb 2019, p.111]

It is their poppiest, most direct album yet, with a '60s swing permeating throughout its 10 tracks, but Cox has never sounded so disconnected from the world. ... It is a lean and often brilliant album. [Feb 2019, p.110]

Not a bad record, just one that needs to get out more. [Feb 2019, p.116]

It's claustrophobic at best, and, after a while, a little tiring. [Feb 2019, p.108]

In spite of an occasional sense of deja vu, this is a spacious, raw record that sees Tonra trying something new while holding on to the core that's propelled her thus far. [Feb 2019, p.111]

It's a strange, sometimes excellent record. [Feb 2019, p.119]

What Is Love? is a superior compilation, but it's held together by Clean Bandit's winning way with a catchy, wistful tune. [Feb 2019, p.111]

Completely unexpected, utterly brilliant. [Feb 2019, p.116]

Her solo incarnation is finer-framed, a collection of country-dusted ballads and Laurel canyon laments run through a Kurt Vile filter. [Feb 2019, p.115]

Forty albums into his career, Morrison might just be summoning a new creative burst. [Feb 2019, p.115]

A more approachable set that engulfs his melodramatic grumble with dizzy synths and sax from Chicago extraordinaire Mantana Roberts. [Feb 2019, p.115]