The presiding theme here is one of nocturnal activity, and it's rather nice to see the songs as half-lit visions, as if it were all a Puckish Midsummer illusion. [Sep 2018, p.118]

A perfect late-summer soundtrack on a par with their 2009 masterpiece Fits. [Sep 2018, p.114]

It's noisy, danceable, by turns exhilarating and excruciating. But at 90-odd-minutes, beyond exhausting. [Sep 2018, p.114]

A debut that should be enjoyed in sweaty, late-night dance caverns. [Aug 2018, p.116]

In the second half, the gloom gradually lifts with dreamlike ballads Midnight Ease and Until You Kiss Me, and some of its predecessor's brilliance returns. [Sep 2018, p.110]

Thanks to their guileless sincerity and boundless invention, The Lemon Twigs manage to pull it off. [Sep 2018, p.111]

These are fine-boned tracks, filled with lops, piano, surges of sound and Tomberlin's hazy voice. But they are carried on the shoulders of great melody, so the effect is of gloriously distorted pop--warm, somnolent, slightly out of focus. [Sep 2018, p.118]

Mulberry Violence is uniquely unhinged. [Sep 2018, p.117]

Dizzy might feel wobbly on their feet, but Baby Teeth gives them an impressively solid foundation on which to build. [Sep 2018, p.110]

Omori hits the sweet spots--butterfly-inducing money notes, wistful minor-key switch-ups--but rarely excites more than cordial admiration. [Sep 2018, p.117]

They sometimes teeter on the edge of bovver-booted self-parody, but this still counts as a welcome evolution. [Sep 2018, p.117]

Old Rockhounds Never Die is ceaselessly exciting. [Sep 2018, p.118]

Loaded sounds like a Last Shadow Puppets album filler, right down to the Turner-ish vocal delivery while others such as Wrong Side Of Life are hopelessly overwrought. [Sep 2018, p.114]

In its focus and eccentricity this debut keeps Khan's own vision front and centre. [Sep 2018, p.114]

Marauder is not the sound of a group chasing lost sounds or long ago glories, rather it is a band detaching itself from its past, from a time that has long defined them; it is the sound of growing older, closer and more open. [Sep 2018, p.108]

A true meeting of minds then, and one that's deeply affecting throughout. [Sep 2018, p.119]

That song [Found What I've Benn Looking For], turbo-charged, grandstanding and whipped into shape by Grennan's gravel voice encapsulates his committed, lavishly layered approach. [Aug 2018, p.111]

At its best it's a combination that offers a kind of Lynchian allure. ... Elsewhere, thought, it can all seem a little passive, a chill-out zone somewhere along Route 66. [Sep 2018, p.118]

Throughout this masterclass in artful self-scrutiny, that tightrope is Mitski's domain. [Sep 2018, p.115]

While these songs feel debulked, The Coral still can't square-peg their music to fit in neatly. [Aug 2018, p.117]

A career-best mind-melter. [Sep 2018, p.117]

Beautifully low-key, gently life-affirming. [Sep 2018, p.110]

Not quiet as good as 1970's Live At Leeds, but it's still a riot. [Jun 2018, p.119]

By turns beguiling and unnerving, at times it feels like an exercise in disorientation. [Sep 2018, p.113]

This is a warped beach record tailor-made for heads' holidays. [Sep 2018, p.118]

It's impulsive and scrappy, lyrically uncomplicated and musically crude, yet each strange, hypnotic composition turns a quiet epiphany into a revelation. [Sep 2018, p.113]

An album of abundant imagination, if elusive meaning. [Sep 2018, p.110]

Gurnsey has pushed his ghost disco to its exhilarating limits. [Aug 2018, p.109]