The whole thing is one long hazy delight. [Nov 2015, p.115]

The effect is brilliantly female and forceful. [Nov 2015, p.115]

Folk and indie-pop influences are as prevalent as prog's darker hue, making Allas Sak far less challenging than it might have been in less thoughtful hands. [Nov 2015, p.109]

The hardest-working slacker in rock goes from strength to strength. [Nov 2015, p.108]

Everything here sounds like a happy accident and that's part of the appeal. [Nov 2015, p.108]

It doesn't always work.... But when they hit their hypnotic stride on the pulsating title track and the languidly poppy Talk, there's loveliness and invention to spare. [Nov 2015, p.104]

At times mesmerising, at others merely patience-testing, it nevertheless stays true to Darko's vision of himself as a man apart. [Nov 2015, p.103]

It's a glum, muted collection of songs, but Giannascoli knows how to party like it's 1994: alone in the kitchen, feeling miserable. [Nov 2015, p.110]

The follow-up reins in some of the chaos and the songs are stronger for it. [Nov 2015, p.115]

For all the familiar qualities, the songs here never fall into pastiche or predictability. [Nov 2015, p.112]

Foam Island again trashes the template as the duo attempt an ambitious quasi-documentary approach. [Nov 2015, p.106]

There are unexpected pleasures in the margins. [Oct 2015, p.105]

Reassuringly, Gilmour's cool and composed vocal delivery and liquid guitar solos dominate throughout. [Nov 2015, p.113]

Rub reboots the elements that made The Teaches Of Peaches the essential electroclash album back in 2000. [Nov 2015, p.113]

When Every Eye Opens grabs you by the lapels, on the pulsating "Keep You On My Side" and the Knife-like "Never Ending Circles," it's stunning. When it fades into aural wallpaper, at least it does it prettily. [Nov 2015, p.110]

A quiet storm of a record. [Nov 2015, p.111]

An album that repeatedly pulls you back in to try and decipher its charms. [Nov 2015, p.111]

There's a real craftman at work here. [Nov 2015, p.111]

The levity of the words is the perfect counterbalance to the fury of their playing. [Nov 2015, p.110]

It's excellent. [Nov 2015, p.107]

Things go awry soon after ["Nearly Forgot My Broken Heart"], though thanks to a less-than-sparkling production from Brendan O'Brien and Cornell's overly sentimental lyrics. [Nov 2015, p.106]

Grey Tickles, Black Pressure captures everything great about Grant's past and bundles it into his most riveting album yet. [Nov 2015, p.110]

The result is confusion, of what the band really wishes to be. [Nov 2015, p.109]

Mothers marks this once unremarkable band as real contenders. [Oct 2015, p.115]

The smart-arse-ometer goes off the scale from time to time and a thin production hardly helps matters, but when Deez gets snappy on Kill Your Attitude and Melange Mining Co, he's far from a lost cause. [Oct 2015, p.104]

Caracal proves a more stealthy beast than its predecessor.... It's indeed the songs, though, which really shine. [Oct 2015, p.105]

The vocals make Savage Hills Ballroom an acquired taste, but those who enjoy a bitter pill will swallow it whole. [Oct 2015, p.117]

Still scabrous, sardonic and singular. [Jun 2015, p.109]