It's pleasing too, this time, to hear Adams singing unadorned and less accompanied; it lets the melody run uncluttered and those brilliant lyrics step forward. [Apr 2016, p.101]

The album comes to life with the radio-friendly, dancefloor-ready banger Operator (He Doesn't Call Me), but only one track, Love Is Blind, errs on the side of the saccharine and straightforward. [Apr 2016, p.109]

There's might in their minimalism. [Mar 2016, p.111]

The quieter songs that follow are more hit-and-miss. [Apr 2016, p.101]

On this first album in 16 years, return unspoilt, showcasing Gano's helter-skelter take on familiarly rootsy targets such as Bob Dylan, Lou Reed, country and rockabilly. [Apr 2016, p.116]

Baird's pure vocals might promise a bucolic dream, but there's the seed of a nightmare mushrooming here, a tension Heron Oblivion push as far out as they can. [Apr 2016, p.107]

It's honest, uncomfortable and bonkers, but therein lies its charms. [Apr 2016, p.115]

You Can't Go Back... holds no surprises. [Apr 2016, p.114]

Dicing with chaos throughout, it could easily induce headaches. But within there is substance and odd beauty. [Apr 2016, p.109]

Barbara Barbara is an ideal way for them to restate their currency. Having lain dormant, the creature is alive once more, electrifyingly so.[Apr 2016, p.103]

His world-weary vocals are leavened by his winning way with clinging melody and an overpowering sense of impish, but committed adventure. [Apr 2016, p.108]

A characteristically warm and good-natured record, but it's also striking how adventurous and relevant they sound. [Apr 2016, p.108]

Ultimately, The Coral aren't doing anything they haven't done before, but the greatness of these songs is undeniable and the production is slyly inventive enough to to keep us hooked. [Apr 2016, p.115]

A deeply involved performance such as this demands an involved listen, but with concentration (and maybe a little bit patience) Moogmemory marks a glorious return. [Apr 2016, p.103]

As a coherent album it's flawed, then, but with more consistent songwriting one senses they could be contenders next time around. [Apr 2016, p.107]

Beyond their all-guns-blazing single, Delete, there's little in the way of mystique on these 12 trim tracks, but there is much to savour. [Apr 2016, p.104]

All told, it's a mighty tasty spread. [Apr 2016, p.117]

Polica have made another good record, but there may never be a Polica album as good as the one inside your head. [Mar 2016, p.112]

You Know Who You Are combines unpretentious lyrics of passing time, loss and the urgency of life with harmony-packed power-pop exuberance, recalling Teenage Fanclub, The dB's or, as on Believe You're Mine, Johnny Marr. [Apr 2016, p.112]

Fallon's grizzly vocals are both his strength (they ooze commitment) and weakness (he'll always sound like The Gaslight Anthem) and they're Painkiller's strength and weakness too. [Apr 2015, p.105]

For the most part, their 11th album is the sound of a band getting back to their best. [Apr 2016, p.100]

More of the same, then. [Apr 2016, p.117]

Existential fatigue and self-interrogation--these themes and more are all, somehow, transmitted by her lullaby-soft delivery without ever having their intensity muted. It's a neat trick, and one that Mothers do better than most. [Apr 2016, p.111]

Confidence is attractive, but iii is a little too composed. [Apr 2016, p.111]

Even at its most melancholy, there's a warmth and brightness to M. Ward's eighth solo album. [Apr 2016, p.110]

Pinkshinyultrablast have lifted their eyes from their laces to the skies. Superb. [Apr 2016, p.113]

As ambitious an album as you will hear from a young British group and they mostly pull it off. [Mar 2016, p.104]

There's melodrama aplenty, but it's the meaningful lyricism in both French and English--and a smart Kanye sample on Paradis Perdus--that make it really sparkle. [Apr 2016, p.102]