Ape In Pink Marble shows that underneath the mannered eccentricities, Banhart's chief talent has always been to write endearing songs. [Nov 2016, p.103]

His most intricately affecting music yet. [Nov 2016, p.100]

The submarine disco of Currents suggests people subject to forces they cannot control, while Lost Boys triggers a very '80s-style melancholia. [Oct 2016, p.110]

Exhaustive notations render this essential for enthusiasts. [Oct 2016, p.115]

Thanks to digital tweaking, boy does it capture them swinging and the four bonus songs are most welcome too. [Oct 2016, p.115]

More than the sum of their parts, if there's a collaborative sweet spot, this record hits it. [Oct 2016, p.111]

While the individual elements all sparkle, at times there are so many stylistic tics that the songs can get lost in the mix. [Oct 2016, p.106]

His fourth album doesn't really sound like a club set at all. [Oct 2016, p.113]

It's an immersive experience you'd need to be a right old fuddy-duddy not to plunge into. [Sep 2016, p.114]

A record you never dreamt you needed, but which leaves you craving more. [Sep 2016, p.109]

As ghostly grey as an autumn fog, it's definitely a record for when the rain's hammering on the windowpanes at home. [Sep 2016, p.102]

The alchemy lies not only in the sonic contrast of the horn and keys but also the creative tension between Redman's roots in bebop's askew interrogations of melody and Mehldau's stream of notes rippling from the wellspring of European classical romanticism. [Oct 2016, p.110]

Their electro-acoustic psych-soundworld can't disguise crisp earwormers. [Oct 2016, p.109]

These are immaculately crafted songs. [Oct 2016, p.105]

Throughout, Grace's gift of melody is only surpassed by her candid lyricism. [Oct 2016, p.105]

The spindly riffs and skiffle-y arrangements are as tightly wound as ever, while Bid's mocking lyrics have seldom been so waspish. [Oct 2016, p.109]

Femejism is every bit as exhilarating as debut Sistronix. [Oct 2016, p.107]

Esoteric but oddly compelling record. [Oct 2016, p.110]

Wild World is the right album at the right moment. [Oct 2016, p.112]

It feels like a coherent vision, even if it occasionally spills into narco-whimsy. [Oct 2016, p.107]

Braver Than We Are is the best thing either has done in decades, addressing as it does both Meat Loaf's less powerful voice and [Jim] Steinman's enormous back catalogue. [Oct 2016, p.109]

Their second album in 10 months is every bit as unvarnished as its predecessor. [Oct 2016, p.109]

She's finally rediscovered what made her so intriguing(the hooks, the sharp lyrics, the energy) in the first place. [Oct 2016, p.113]

[Dandy is] not even the best thing here, as Fingers Crossed continues Hunter's chain of excellent 21st-century albums. [Oct 2016, p.107]

Combining Koretsky's electro throb, Rourke's funky bass and O'Riordan's distinctive, albeit newly toned vocals. It particularly works on the uptempo and lush The Moon and the more hardcore Gunfight, enhancing everyone's reputation. [Oct 2016, p.107]

GLA's songs are snappy, its drums gigantic, its guitar riffs thrilling and McTrusty sings I Am Alive with the conviction of a man truly reborn. [Oct 2016, p.113]

This return proves surprisingly approachable, especially on the four tracks written with French songwriter and producer Woodkid. [Oct 2016, p.105]

Another year, another Jah Wobble album knocked out with a slew of collaborators and little interest in much, you suspect, beyond the immediate entertainment of its participants. [Sep 2016, p.114]