No great leap forward here. [Oct 2015, p.106]

Frontman Matt Tuck leaves no cliche unturned in his angst-ridden lyrics and the second half of the album is weighed down by the leaden balladry. [Oct 2015, p.104]

Despite a few too many sanitised, lounge-y moments, overall this is an enjoyable first effort. [Oct 2015, p.102]

Fans will appreciate Yo La Tengo reinventing their own The Ballad Of Red Buckets and Deeper Into Movies from noisy chaos to whispered, but still intense, quiet. [Oct 2015, p.117]

Woken By Noises [is] reminiscent of the third Velvet Underground record. Elsewhere, however, the songs come across as elegant but a little flat, with a noticeable dip around the middle of the album. [Oct 2015, p.116]

Star Wars feels like the work of a band remapping their space. [Oct 2015, p.115]

Uncompromising as ever, Hidden Fields is an alien transmission from a band with a singular vision. [Oct 2015, p.115]

In places, The Boombox Ballads is too shambling for its own good. [Oct 2015, p.113]

It's a step in the right direction. [Oct 2015, p.113]

It's best when he makes mood music for out-of-body states. [Oct 2015, p.114]

As an album, it's something of a revelation; the stunning sound of an artist being born again. [Oct 2015, p.113]

The tunes, for all that they whistle by breezily enough, lack the snap, crackle or pop that separates the hitters from the makeweights. [Oct 2015, p.113]

What sets Faded Gloryville apart, however, is the new bluesy, soul-filled groove she found recording in Muscle Shoals. [Oct 2015, p.113]

Eyes Wide, Tongue Tied is a leap forward. [Oct 2015, p.108]

An emerging songwriting talent with a style and sophistication all his own. [Oct 2015, p.107]

At its best she sounds like St. Vincent with finger cymbals and a kaftan, a talent blooming on her own terms. [Oct 2015, p.106]

Poison Season sounds like a restless musical intellect stretching out with new confidence. [Oct 2015, p.106]

It's a rap record for rap people. [Oct 2015, p.106]

At 10 tracks, it's a concise and perfectly paced record, veering between subtlety and stampede. [Oct 2015, p.100]

If, after a while, it just hangs there like a low mist, Noctunes is still a thing of impressive substance made by a very striking somebody. [Oct 2015, p.102]

Glynne's voice is a powerful weapon to secure audience submission, yet it quickly becomes a weak link, making Florence Welch sound like Vashti Bunyan. [Sep 2015, p.112]

Smart, knowing and the right kind of shallow, Spector have moved on to phase two in style. [Sep 2015, p.117]

A collection of B-sides, Peel Sessions, alternative takes and unreleased tracks which reveal that the Californians were undergoing a spell of prolific creativity bordering on incontinence. [Sep 2015, p.121]

It takes time to reveal its charms and does sag towards the end, but Depression Cherry is a great example of a band hanging on to their trademark sound and managing to create something fresh with it. [Sep 2015, p.111]

It's charm lies in the warm melodies Sheppard and his supporting cast coax from their mostly acoustic instruments, including marimbas and vibraphones. [Aug 2015, p.112]

This is a record that demands what's left of your time. [Aug 2015, p.107]

The spirit of Thom Yorke hovers over the proceedings in places, but ultimately those pining for the still missing-in-action Bon Iver should find some comfort here. [Sep 2015, p.109]

Curious, gorgeous and a little bit off its rocker. [Aug 2015, p.109]