Extraordinary. [Oct 2017, p.108]

A work of lovely, floaty wonder. [Oct 2017, p.103]

Numan and collaborator Ade Fenton complement the narrative with a sand-blown, Eastern gothic mood, featuring use of Arabic scales, which evoke a desert within the human soul as much as any hypothetical desert Earth. [Oct 2017, p.107]

Anyone expecting an album of unchallenging fodder is in for a shock. Like the voyage faced by its desperate, stateless subjects, I Tell A Fly is no easy ride. [Oct 2017, p.101]

Confusion's left in its wake, of course, but such is the price of the peaks. [Oct 2017, p.100]

What it lack in surprises it makes up for in songcraft. [Oct 2017, p.108]

Scott can't help but overcook things occasionally but fans will gorge on this rich feast of country, soul and downhome rock'n'roll. [Oct 2017, p.111]

It feels like a step into a brave new world. [Oct 2017, p.108]

[Myela] descends into a bit of a toe-curlingly worthy WOMAD sing-along. More subtle and far better are gentle ballad When the Body Is Gone and lovely closer Infinite Trees. [Oct 2017, p.107]

Unfortunately, aside from Stranger's Kiss, the overall level of artifice here is simply too steep to surmount. [Oct 2017, p.100]

V feels bigger than its predecessors, but it still disturbs. [Oct 2017, p.105]

Concrete And Gold is a straightforward Foo Fighters album, albeit one that does occasionally fulfill its promise to deliver both aural lavishness and maximum heaviosity. [Oct 2017, p.102]

The message is as subtle as a street riot but the delivery mechanism ('90s funk metal, barked tirades) creaks with age. [Oct 2017, p.108]

The forgettable radio-pop of Laughable or Show Me The Way suggests a musician with nothing to prove having fun with his friends. After five songs, though, Give More Love nosedives into by-numbers country rock. [Oct 2017, p.111]

Outrage! Is Now makes a convincing fist of them not sounding like a band pushing 40. [Oct 2017, p.100]

The dystopian mood ultimately delivers more chills than thrills. [Aug 2017, p.112]

Their sound is now driven by a tensile energy that sounds like they've been mainlining the early Factory catalogue. [Oct 2017, p.107]

Guided by a love of '80s synth-pop, but feeding in elements gleaned from Chicago house and Italo disco, they come across like a Nordic Junior Boys. [Oct 2017, p.107]

INHeaven's potential is huge, it's just not fully realised here. [Oct 2017, p.105]

On this fourth LP, the hook-laden Here Among You is as celestial as pop music can be: if they have a breakout song it's this, but it's far from the only moment of magic. [Oct 2017, p.100]

His fourth album shows a continuing talent for both dynamite house beats and reframing idiosyncratic vocalists. [Oct 2017, p.105]

This one has it's moments, but somehow never quite catches fire. [Oct 2017, p.106]

There are moments when it becomes a bit Baltic Eurovision, but Okovi is as tender as it is tough. [Oct 2017, p.111]

It's not a wildly eclectic trip, but for dependable hooks and relatable emotion, Alvvays are spot on. [Oct 2017, p.100]

An album that advances the sound of LCD Soundsystem and more than justifies their return, while retaining all that was brilliant about them in the first place. [Oct 2017, p.98]

At its worst (Jealousy Is A Powerful Emotion), he's overwrought and stodgy. More often, though, Draper is an unceasingly self-lacerating lyricist unafraid to deal with his past. [Oct 2017, p.103]

Vibrant and outward-looking, the record has a buoyant, dancified energy that flows. [Oct 2017, p.103]

All in all, a brooding and brilliant record. [Oct 2017, p.103]