Fans of Real Estate in particular, will be in ecstasy. [Jun 2016, p.117]

The over-sauced, finger-wagging Naughty might take the joyful retribution to far in the panto direction but I Will Survive update Me Without You and joyful dancefloor rebirth Rare prove that Stefani has lost none of her pop spirit. [Jun 2016, p.117]

They do lean away somewhat from the buzzsaw pop-punk which made them favourites of Kurt Cobain, and toward streamlined '70s FM rock, as well as new wave power pop in the vein of The Only Ones and The Flamin' Groovies, with a few interludes of Byrds/Big Star jangle. But don't be fooled by such mellow moments. [Jun 2016, p.116]

The ambition is still there. [Jun 2016, p.114]

While Finder is as relentless as they come and Intruder punches harder than chase & Status, The Fool details life in a court during the Middle Ages interestingly enough and there's subtle beauty in Eating Hooks. [Jun 2016, p.114]

On most of Patch The Sky, Mould expresses his darkest emotions in way that make you want to shout along. [Jun 2016, p.114]

Here honing the bright and distinctively Nordic sound that enlivened 2014's International, they even flirt with becoming a pop group, albeit one wearing its '80s fixation with pride. [Jun 2016, p.113]

Five years in, they've still to learn that less can sometimes be more. [Jun 2016, p.112]

Weezer sound extremely happy in their own skin right now, and they're all the better for it. [Jun 2016, p.112]

A collection of songs of pleasing weight and completeness, their musical joints expertly dovetailed, their detailing crisply hand-carved. [Jun 2016, p.108]

Their second studio album does have a strange charm, in short doses. [Jun 2016, p.108]

There isn't a song here that isn't a low-key delight. [Jun 2016, p.111]

The result might be a different kind of journey, complete with detours and dead-ends, but its as compelling as any he's taken so far. [Jun 2016, p.111]

For all the craft she shows, for all her ability to move and for all the promise of the zinging, Indian-inflected Growing Pains, Birdy is undone by an unwillingness to change her musical pace. [Jun 2016, p.110]

The results is unusually heavy, even by FOTL standards. [May 2016, p.108]

Red Flag is both consistent and memorable. [Jun 2016, p.108]

There is nothing new here but Teleman make it sound like their own. [May 2016, p.109]

The work of a solid pro rather than gripped by genius. [May 2016, p.111]

Distortland continues Taylor's more ruminative songwriting. [May 2016, p.107]

It's a beautifully dark album. [May 2016, p.107]

Understated but always adult record, but Aves's guitar twinkles across these impossibly catchy tunes and his voice's warmth masks its sometimes barbed content. [Mar 2016, p.106]

Junk is deeply uncool, uncoolly deep, and utterly magnifique. [May 2016, p.115]

The fire dies down as the album progresses, but the infectious melodies remain. [May 2016, p.104]

Altogether, as lovely as its title suggests. [May 2016, p.104]

The high proportion of psychedelic plods make this record feel like a missed opportunity--elegantly wasted, but wasted all the same. [May 2016, p.104]

The No. 1ers' frenzied, hypnotic soundwhirl of old is leavened by the addition of precision-tooled beats and a shiny top-coat production. It works magnificently on the propulsive Yambadi Mama, yet less so when the motorik thumb pianos are left virtually unaccompanied. [May 2016, p.111]

That you are compelled to stay listening to see what it might be is proof of this record's eerie power. [May 2016, p.111]

Parquet Courts have delivered a fifth full-length album that ticks every box on the application form [for an uber-cool New York band of the Velvet Underground/Sonic Youth lineage]. [May 2016, p.114]