What sounds antagonistic in premise actually proves to be a brilliant odyssey through the eclectic backwaters of Keely's imagination. [Feb 2016, p.112]

Throughout, there's a warmth to the songwriting that seems at odds with an album released in January. A genuine joy. [Feb 2016, p.116]

The unruly palette endures throughout, with dirges, ersatz country and cracked pop variously suggesting Clinic, Throbbing Gristle and Blackpool cults Ceramic Hobs. Lyrically, trigger warnings may be necessary. [Feb 2016, p.110]

It's pleasing listening. [Feb 2016, p.112]

Unforced and rewarding. [Feb 2016, p.119]

The meticulous arranged synths, crackling guitars and electronic glitches ensure the attention never wavers. [Feb 2016, p.114]

Their music is a similarly odd hybrid [as the Bray Road Beast that their first track references], its great dreamy prog head gazing down at its shoes. [Feb 2016, p.108]

With Pedro de Dios Barcelo's vocals so Andalusian-accented even other Spaniards have trouble following. No Matter: their readiness to rumble transcends such trifles. [Feb 2016, p.111]

Some suitably dramatic music. [Feb 2016, p.115]

Here he finally found a head-expanding, mind-frazzling voice all of his own. [Jan 2016, p.108]

Of the four new tracks, Just Like We Never Said Goodbye is the pick, evoking a John Hughes school disco scene soundtracked by Aphex Twin, though anyone feeling the package still lacks substance can select the full "Silicon" option at Sophie's webstore. [Feb 2016, p.118]

His once winning formula now sounds wanly formulaic. [Feb 2016, p.112]

If listening to this record feels like eavesdropping, however, what's overheard is emotional dynamite. [Feb 2016, p.109]

Knight is now coming up on the rails. [Feb 2016, p.112]

To no-frills, English Velvet Underground-style indie pop, this seasoned, perceptive narrator also turns his gaze on dilemmas including the plight of the still-game senior rocker (Mr. Music), bewildering transience (There It Goes) and, seemingly, divorce (Good Enough), lightly wearing life experience without sacrificing impact. [Feb 2016, p.107]

If you've skipped some of their more recent efforts, you'll be shocked by just how innovative and impressive they've become. [Feb 2016, p.119]

The lack of uptightness suits them. [Feb 2016, p.118]

Far from being a downer, these songs are frequently sublime. [Feb 2016, p.113]

The songs this time have a depth and a warm maturity, a Neil Young sensibility coupled with a soul-singer sensuality and a distinct pop edge. [Feb 2016, p.113]

Any playfulness surrounding the album's titular pound-shop themes quickly evaporates amid a sound so spacious and tune-free as to border on emptiness. [Feb 2016, p.116]

Anderson has rarely sounded more desolate. And Suede, for two decades, have rarely sounded this compelling. [Feb 2016, p.106]

New View, the follow-up to 2013's Personal Record, shares that persistent quality, setting up home in the corner of your head after the briefest acquaintance. [Feb 2016, p.110]

It's impossible not to be swept up in the exuberance. [Feb 2016, p.111]

While Bloc Party Mk II don't quite reach the dizzying heights of hits such as Banquet or Flux, Hymns restores your faith in both their ability and ambition. [Feb 2016, p.114]

There are moments of real pathos. [Feb 2016, p.108]

It's this urgently speculative spirit ["Is it human to ask for more?"] that make Adore Life a compulsive and substantial thrill. [Feb 2016, p.117]

It's a confusing affair, where [Urie] foolishly tries to croon like Frank Sinatra on the title track and never quite nails down whatever the big idea was supposed to be. Still, there are moments to cherish. [Feb 2016, p.115]

A secret deconstruction of normative notions of romance, with early tasters handed out ribbon-wrapped in Mills & Boon novels. [Feb 2016, p.107]