Their 11th LP will remind newcomers of Metallica's buffed-up chugga-chugga, but also, a trifle disappointingly, of late-era Iron Maiden's blanded-out chest-beating anthemics. [Apr 2016, p.101]

A moody, low-key opening does them few favours, but there's no shortage of intensity once they hit their groove. [Apr 2016, p.105]

As her previous two albums showed, Moss is a dab hand at writing about affairs of the heart. [Apr 2016, p.105]

The whole, though, is surprisingly cohesive and always uplifting, linked by knowingly sultry vocals and veteran innovator Bill Frisell's typically oddball guitar work. [Apr 2016, p.114]

Though some tracks' slightly antiseptic atmospheres mean reality-obliteration promised by the group's name fails to fully manifest. [Apr 2016, p.102]

Simple pleasure delivered in style. [Apr 2016, p.107]

Ambitious yet oddly affecting, wash day need never sound the same again. [Apr 2016, p.111]

The whole thing comes with a sort of knowing childishness, like reverting back to your most obnoxious teenage self after 10 Minutes with your family. [Apr 2016, p.112]

It's an intriguing scrapbook of ideas and frequently enjoyable, but could use a banger or tow. [Apr 2016, p.112]

A decidedly loveable record. [Apr 2016, p.113]

A masterful collection of songs from an overlooked, but truly brilliant artist. [Apr 2016, p.113]

Dig In deep seamlessly follows 2012's Slipstream in personnel and style. [Apr 2016, p.113]

Sadly, Better Nature is the sound of a band barricading themselves into their own comfort zones. [Apr 2016, p.115]

On the rich and dazzling Malibu, Anderson.Paak has truly found his voice. [Apr 2016, p.116]

Frustratingly, the tricksy production and Auto-Tuned vocals of the fragmented second-half tend to overwhelm the songs rather than enhance them. [Mar 2016, p.109]

The result is that a few songs in you find yourself rather craving a bit of imperfection, something scruffy and incorrigible to disrupt all this generic rhythm and gusto. [Mar 2016, p.116]

A five-year sabbatical finds them both refreshed and free of rancour. [Mar 2016, p.111]

This restless, shape-shifting experimentalism might have been something Mason's been working on now for two decades, but it's rarely sounded better than it does here. [Mar 2016, p.118]

Nine Track Mind whimpers like a sick kitten. [Mar 2016, p.113]

If the absence of slow-builds and ambient drones makes for more succinct tunes, they're still no snappier. Choruses won't be bellowed, the air won't be bellowed, the air won't be punched, devotees will likely be delighted. [Mar 2016, p.105]

While Wonderful Crazy Night lacks a truly great Elton John song, he sounds more driven than he has in years. [Mar 2016, p.108]

Over 17 similarly sounding tracks it becomes slightly more soporific. [Mar 2016, p.109]

Deviations aren't needed when you can enjoy Hidden City for what it is: a Cult record. [Mar 2016, p.108]

A triumph of irregular precision. [Mar 2016, p.109]

At once elegant and enigmatic, only he willfully prosaic title strikes a jarring note. [Mar 2016, p.111]

In its elegiac tone, its gauzy production and its sense of impending finality, The Ghosts is Williams' Time Out Of Mind, the album on which Bob Dylan pondered his own mortality. [Mar 2016, p.117]

By turns thrilling and blissful. [Mar 2016, p.115]

Tatum's sonic upgrade pays off handsomely. [Mar 2016, p.118]