Although its lyrics and concerns are more mature than debut album Life As A Dog, it occasionally feels a bit like reading your teenage diary: a cringe or two amid the catharsis. [Jun 2017, p.109]

Hitchcock is a genre of his own, and he's giving it a good name. [Jun 2017, p.109]

The disruptions continue on these post-classical keyboard pieces given extra depth by textured electronics, which create an underlying tension befitting the album's brief to examine possible ecological futures. [Jun 2017, p.109]

These are fine story-songs for any age, era or metal disposition. [Jun 2017, p.107]

They make all the right moves on this brilliant debut. [Jun 2017, p.106]

Happyness's second LP is deceptively well thought-out, deftly constructed around unusual chord changes, and laced with subtly eyebrow raising sonics. ... Making you wonder just how impactful this able trio might be if they properly pulled their finger out. [Jun 2017, p.106]

A daunting 32 tracks and some typically uneven quality control. However, there's a renewed freshness here. [Jun 2017, p.106]

More often, Double Roses settles for a tastefully ornamented Nashville smoulder. [Jun 2017, p.106]

Certainly, there's an absurdity about the great man wrapping his frail tonsils around vocally acrobatic piece like Stormy Weather. Yet, his passion for the task of rescuing these poetic tunes from cultural obscurity is palpable. [Jun 2017, p.106]

Davies's melodic gifts remain bulletproof/ In fact, he hasn't sounded more creatively alive in years. [Jun 2017, p.106]

It's a stimulating and animated listen, his resigned confidences frequently sharpened by dyspeptic wit. [Jun 2017, p.105]

With high-up bassline grooves and synth-psych mayhem oozing from every pore, it's another absolute winner. [Jun 2017, p.105]

It might propel them deeper into the mainstream, but the artistic price doesn't seem worth paying. [Jun 2017, p.105]

An album of hidden depth, then, even if some of them require firm resolve on the listener's part. [Jun 2017, p.105]

The sunny hooks of the title track and Disco Kid's funky backsbeat display similar flair, though indulgent wig-outs such as Don't Blame Yourself could do with an edit. [Jun 2017, p.105]

Lyrics veer from the pessimism of relationship failure to the optimism of new love, underpinned by the worldliness of a woman moving forwards after so many steps backwards. [Jun 2017, p.105]

It's a record that opens the door with its's robe falling to the floor: louche, suggestive clammy in places. [Jun 2017, p.104]

Their debut LP serves as an impressive case for why--a mingling of youthful bombast and strikingly mature ambition, the songs here are anthemic, introspective, delightful. [Jun 2017, p.102]

BNQT is a happy meld of snug-fitting millennial Traveling Wilburys and Gorillaz pop nous, a giant avert for the powerful attraction of opposites. [Jun 2017, p.102]

Amid too much mid-tempo drear it's left to Rockabye Baby to bring some fire to a n LP that rarely does more than enough. [Jun 2017, p.102]

There are echoes of other singular vocal talents such as Jonsi and Anonhi, but Ghersi here occupies a sonic multiverse of his own creation. [Jun 2017, p.102]

Confident in its own weirdness, Love In The 4th Dimension is as enjoyable as the live shows that birthed it. [May 2017, p.100]

While not all the songs manage to really sink their teeth in, the overall smoky, neon-lit atmosphere is an intoxicating one. [May 2017, p.111]

Some may carp at the lyrics, but at 47, Kay retains pole position as pop's most revved-up playboy. [May 2017, p.107]

Familiar BSP influences such as New order, Talk Talk and Bunnymen are present and it's shot through with a Telstar optimism, ensuring that the afterglow is defiantly positive. [May 2017, p.100]

Despite th[e] bleakness, Pure Comedy is delivered with wit and warmth, and redeemed by the tiniest twinkle of light. [May 2017, p.110]

It rearranges songs from the back catalogue into both psychologically probing dream-pop and freer, almost meteorological expressions. [May 2017, p.104]

Even now, few do it better than Wire. [May 2017, p.112]