The core subject matter remains Gedge's mordantly fatalistic view of love but the ambitious nature of the project seems to have put a spring back in his step. [Oct 2016, p.113]

When it does threaten to bud into genuinely odd forms--the title track's sinuous distortions, or a sudden swerve into pop seduction on Do Your Bones Glow At Night--it doesn't stick. [Oct 2016, p.113]

This album sees the acquisition of a new twin-sticksman rhythm section, which powers Dwyer's ever-progressive tracks to new heights of psychedelic delirium. [Oct 2016, p.110]

Teenage Fanclub may just have made their best record yet. [Oct 2016, p.110]

It perfectly captures the oscillating other-worldliness of their sound. [Oct 2016, p.110]

The songs are low-key, personal tales with quiet hooks, grabbing what energy they can from the production's sudden lurches. [Oct 2016, p.109]

The hit rate's impressive. [Oct 2016, p.109]

An LP that strikes a perfect balance between desparate sides of Jamie T's personality. [Oct 2016, p.108]

When he departs from the template, Foreverland truly excels. [Oct 2016, p.107]

These are controlled, tempered, well-steered songs, capable of navigating genres. [Oct 2016, p.104]

While unpredictable in parts, there are great melodies here to pull the floating voters in. [Oct 2016, p.106]

Wildly collaborative, pan-globalistically luvvy-duvvy and heaps of fun, it just about hangs together as her best outing since 2007's Kala. [Oct 2016, p.102]

The Coldplay-leaning Some Other Arms and the flowery-welly wearing Mayflies suggest their final destination may be as soundtracks for the John Lewis catalogue or sunsets on Instagram. [Sep 2016, p.107]

A racket in the best possible way. [Sep 2016, p.108]

Cool Ghouls don't betray the influence of any music made in their own lifetime, but they have a broad enough palette to make their third album more than just a period piece. [Sep 2016, p.105]

There is a wonderful tension on Mangy Love between the pleasure of the music--lush, soulful, spinning out from Elliot Smith or Lambchop--and the often ugly, complex breaks and disturbances in the lyrics. [Sep 2016, p.103]

He's at his best on the doom-laden What's So, where guitars clang like church bells as White Broods over soul-selling and eternal damnation. [Sep 2016, p.114]

A listening experience every bit as intense and idiosyncratic as Ecks himself. [Sep. 2016, p.106]

It makes for one of the most delicious albums of the year. [Sep 2016, p.113]

What holds it all together is Henderson's blank, uninflected vocals, though the resulting ambience couldn't be more self-consciously avant-garde if the album came packaged with wrap-around shades and a copy of White Light/White Heat.[Sep 2016, p.106]

It's atmospheric and even moving, but sometimes feels like drowning slowly in a flotation tank with The Bends playing on repeat shuffle. [Sep 2016, p.111]

With Doyle's lethargic vocals sung like sighs to form sweet harmonies over upbeat guitar lines, it's an album that has a smile that doesn't quite reach the eyes. [Sep 2016, p.105]

Crazy as ever, then, but still just about in an endearing way. [Sep 2016, p.108]

Eve is, ultimately, one of those moody, chain-smoking nights in on your Jack Jones, where only the intimate anguish of a deft alt-noisenik-turned-twisted balladeer will do. [Sep 2016, p.114]

And the Anonymous Nobody delivers. [Sep 2016, p.104]

Thomas doesn't completely capture the fleet shimmer of the best pop, but his songs are too much fun not to be taken seriously. [Aug 2016, p.108]

If many tracks sound like the back-half of an extended mix, the effect is never short of mesmerising. [Sep 2016, p.106]

This is a wonderful record--involving and irresistible. [Sep 2016, p.105]