All told, the grand old men of post-rock still rock. [May 2016, p.108]

An inescapable sense of conviction makes it transcend nostalgia. [May 2016, p.106]

The end result is a heavyweight tour de force, and Polly Harvey's most fully-realised album to date. [May 2016, p.102]

The fierce intensity of Ote's digital blurts, Mudafossil's amorphous throb and To Many's fractal melodies show Kooshanejad mapping fascinating new dimensions of his own. [May 2016, p.111]

Bang Zoom Crazy... Hello is their best version this century. [May 2016, p.107]

Amen & Goodbye is an all-on-black attempt to rediscover their mojo. By and large, it's successful... The only minor caveat is that in the search for sonic and lyric transcendence, the band give off the slight air of Christina rock project. [May 2016, p.104]

Here are songs that only the Pet Shop Boys could record. [May 2016, p.113]

It's complex music but with enough of a melodic charm to hook you in, easy to appreciate but hard to fully grasp. [May 2016, p.104]

If they're undone by anything, it's their puppy-like, kids-in-a-sweet-shop enthusiasm for their prowess. [May 2016, p.104]

This outing's a little harder to love than its predecessor, but the highlights are definitely worth the wait. [May 2016, p.106]

Purists may bristle at his irreverent modifications, but consider these old songs' community spirit well served. [May 2016, p.112]

While Hinton's selections vary wildly in style, the production is both fluid and empathic. [May 2016, p.114]

Blues of Desperation rarely deviates from the burnished hard-rock-meets-raw-blues template last explored on 2014's Different Shades Of Blue. But everything comes spiced with clever melodic tics. [May 2016, p.106]

Ultimately, this is a fun record by a fun band. Not a bad thing by any means, but a little more salt in the soup would have been welcome. [May 2016, p.117]

There are only so many ways to do deep, woozy bass overlaid with gentle harmonies and a clipped beat, and Haelos exhaust them around track seven. [May 2016, p.109]

Distractions aside, this is a fine record. [May 2016, p.114]

It can all be a bit hazy and formless, but when sweeping the sky for sounds on the ominous prog-drift of Body Studies or bathing in the light cast by Loveless on Deu, Colleran shows his skill at controlling the most nebulous sounds. [May 2016, p.112]

Visceral, cerebral, utterly lovable. [May 2016, p.112]

While his left-field turn may sharply contrast with what he initially promised, he's sacrificed none of his mystery. [May 2016, p.111]

Despite the embarrassment of riches, though, there's also a lot of plain old embarrassment. [May 2016, p.110]

Eraser Stargazer will be anathema to many, but its twitchy 29 minutes carry fabulous voltage. [May 2016, p.109]

Rarely makes for easy listening.... though the album's second half is notably more harmonious. [May 2016, p.104]

So many genres collide on Aa it can feel like being trapped in a virtual karaoke machine. [Apr 2016, p.102]

Lush and lyrical, Jones makes 2013 a year to remember. [Apr 2016, p.108]

His debut is more Will Oldham than Will Young, with hints of Bon Iver, John Martyn and the Buckleys. The best of a beguiling bunch comes last. [Apr 2016, p.104]

The 11-strong-Mex ensemble's Latinised arrangements are intricate but lifeless. [Apr 2016, p.111]

[A] brilliantly unsettling album. [Apr 2016, p.110]

It's a mostly dazzling performance, though on the histrionic Gone Insane, they get carried away by their own virtuosity. [Apr 2016, p.109]