A record that twists in thrilling shapes but rarely gets tangled. [Dec 2018, p.111]

If a tad skronky in parts and slight at 28 minutes, the deep grooves of IC-01 pull you in. [Dec 2018, p.114]

The propulsive Fast Forward proves there's still a shard of emo in their hearts, but mostly this feels like a bold reboot. [Dec 2018, p.114]

It all points towards an altogether shinier future. [Dec 2018, p.114]

Krell's exploration into inner space working best when opening the door wide enough to let a little light in. [Dec 2018, p.108]

An expansive journey into a singular imagination. [Dec 2018, p.107]

It's full of compact songs that steal your heart and leave. [Dec 2018, p.107]

The radio sessions on this nine-disc set show that their most anthemic songs could just be as captivating in an intimate setting, but it's the live sets here that really illustrate their story. [Dec 2018, p.117]

There is a danger it might all drift away in a haze of gossamer-light stylishness if it weren't for the interesting places they nudge these gentle songs. [Nov 2018, p.112]

These songs might not defeat Fu Manchu, but they're a fine addition to Richard Ashcroft's hand. [Nov 2018, p.100]

The music is stripped-back but always eclectic. [Nov 2018, p.104]

Left to her own devices, she radically strips back her earlier material and it works. [Nov 2018, p.111]

The definition of a mixed bag. [Nov 2018, p.109]

A brace of new collaborations with Canadian duo Tegan And Sara, whose pop sparkle illuminates Bad Ones' nocturnal tech-house, reveal yet another facet to Dear's ever-changing modes. [Nov 2018, p.105]

This inventive debut mixtape continues the journey with no previously released tracks but much ammo for his claim to the capital's diasporic underground. [Nov 2018, p.111]

His seventh album sees Vile cement his place as an artist following his own lead. [Nov 2018, p.103]

Fabulously vivid fourth solo album. [Nov 2018, p.106]

Blackly comedic, this is a great debut. [Nov 2018, p.112]

It reaffirms Mockasin's status as the maddest biscuit in the box. [Nov 2018, p.109]

There are moments of brilliance--the title track features a stunning guitar section, while Every Little Thing is a powerful reminder of the importance of self-forgiveness--yet First Flower occasionally fails to live up to its predecessor. [Nov 2018, p.102]

An LP that is all over the place, yet with a clearly defined sense of self. [Nov 2018, p.105]

This is high-pedigree pop-soul in the style of Costello's 1982 song Tears Before Bedtime. ... Gostello's lyrics are subtle, penetrating and often written from a woman's perspective. [Nov 2018, p.107]

Their sky-scraping melodies may not enjoy the same reverence and ubiquity as, say, The Smiths' catalogue but these rearrangements are magical. [Nov 2018, p.105]

It's a stunning, stealthy, faintly malevolent collection of songs that serve as a reminder of this songwriter's power and innovation. [Nov 2018, p.106]

The result is his slickest and best-produced record yet: all warm beats, electric piano and weeping, reverb-y pedal steel. [Nov 2018, p.113]

The swagger of Marshall's lyrics indicate a musician luxuriating in her maturity. [Nov 2018, p.105]

A sprawling, ambitious 18-track behemoth, its size and constant stylistic shifts belies its cohesiveness. [Nov 2018, p.106]

While AAARTH doesn't veer too wildly from the template--tightly-wound rock riffs and pummelling drums forming a circle around frontwman Ritzy Bryan's atmospheric hooks--it doesn't put a foot wrong, either. [Nov 2018, p.109]