Lean and modest throughout, Don't Let The Kids Win reverberates with a sense of truth that only the truly exceptional can convey. [Nov 2016, p.110]

Modern life is rubbish, but the tunes are great. [Nov 2016, p.114]

Whereas that time [on Off My Rocket At The Art School Bop] the sharp lyrics were backed by memorable tunes, here he isn't pulling up any trees musically. [Nov 2016, p.107]

Let Them Eat Chaos is masterful. [Nov 2016, p.107]

An album that yields more with each listen. [Nov 2016, p.111]

The songs pound like jackhammers, there ate big choruses everywhere and mischief to spare. [Nov 2016, p.108]

Few singers examine the pathology of heartbreak so expertly. [Nov 2016, p.102]

His earthy but frequently beautiful Americana has maintained a consistent heaviness of vibe, and album five continues down the same byway. [Nov 2016, p.107]

Gong have become their own tribute band. But it works. [Nov 2016, p.107]

It doesn't eclipse their finest work, but if Toy is to be their farewell, it's a fine way to go. [Nov 2016, p.114]

There are some exquisite songs here. [Nov 2016, p.111]

Revolution Radio is Green Day back at their best. [Nov 2016, p.104]

Requiem is Goat's most acoustic and folksy release to date, but their greedily promiscuous approach to pilfering beats from all pints of the globe is undiminished. [Nov 2016, p.107]

The oddball rapper with the humdrum name is carving out a space all of his own. [Nov 2016, p.102]

Eventually even the guest run out of ideas, leaving only Dupieux's fragmentary electro-funk. [Nov 2016, p.111]

The folky reworking off The Raconteurs' Caroline Drama is an improvement on the original and the stark version of Love Is The Truth, originally written for a coke ad, outweighs the bombast of the released version. [Nov 2016, p.117]

White Glue departs little from the scratchy template of La Spark but sounds more confident, if still just as nasty. [Nov 2016, p.114]

It often feels a little formulaic, but, boy do they have that formula down to a fine art. [Nov 2016, p.107]

The two troubadours don't miss a trick bringing sepia-tinged majesty and tragedy back to life. [Nov 2016, p.102]

How To Be A Human Being shows a band who know how to Frankenstein a song together, but can't bring it to life. [Nov 2016, p.107]

Ou Va Le Monde is twanging Tarantino-bait, Tatiana is a thumping, technophile take on The Velvet Underground, Le Chemin is gloriously woozy and Exorciseur is Gainsbourg-esque. But they're all eclipsed by the closing Vagues, a 13-minute psychodyssey. [Nov 2016, p.108]

These records might not eclipse Channel Orange, but they have their own mercurial gleam, mapping the spaces between people, reaching for a hazy intimacy that almost feels real. [Nov 2016, p.112]

These records might not eclipse Channel Orange, but they have their own mercurial gleam, mapping the spaces between people, reaching for a hazy intimacy that almost feels real. [Nov 2016, p.112]

[Johnny Lynch's] third album proper features confident, spangly pop music with beats as sneaky vehicles for stories of murder, primal blood rites and near-death experiences. [Nov 2016, p.113]

Despite some strong material, the relentless gloom gets a little wearing well before the end. [Nov 2016, p.113]

This time there is too little that snags the ear. [Nov 2016, p.114]

They're at their most effective, however, when they allow their songcraft to dictate the swirl, rather than vice versa. [Nov 2016, p.115]

It veers back to the more melancholy, washed-out experimentalism of their first records, while occasionally seeking to beak new territory. [Nov 2016, p.111]