Sometimes I Sit And Think is littered with wry, smile-inducing couplets and wonderfully mundane detail. [May 2015, p.114]

For Much of Bashed Out, emotion is shown rather than told, but once the layers have been unpicked, it's obviously special. [May 2015, p.112]

Song quality is key: at home writing cheery or wistful postcards rather than deep and meaningful navel-gazing, Ringo had yarns to spin, vibes to spread and lucky stars to thank. [May 2015, p.112]

It's not to say he's workmanlike, but he does the job. [May 2015, p.110]

Duets guns unerringly for lounge-y stasis, swerving any trace of the funk, grit or bile which make Morrison such a unique treasure.... Criminal. [May 2015, p.108]

It's when Moorer drops her guard on Like It Used To Be, Thunderstorm/Hurricane and the self-lacerating Mama Let the World In that Down To Believing bursts from black and white into full colour. [May 2015, p.109]

A Certain Pleasure, nods to Sonic Youth's twisty-turny Daydream Nation, and Natural Vision is pure Dinosaur Jr, circa '86-87. They need a whole lot more of that relative light to offset their predominant, brutal darkness. [May 2015, p.105]

His low-key, unhurried approach is unchanged. [May 2015, p.107]

It's the explosion in Diamandis's songwriting that's most noticeable here. [May 2015, p.107]

The overall effect is expansive--this is kosmische musik for a desert rather than an autobahn--and it's far-out in the best possible way. [May 2015, p.105]

As Desolation Sounds progresses, so the mood becomes more considered and expansive. [May 2015, p.105]

They've simply honed their sound to an aggressively melodic point. [May 2015, p.104]

In its own flawed, modest, off-kilter way, this might turn out to be one of the most accomplished records of the year. [May 2015, p.98]

Heroic. [May 2015, p.100]

A few more songs like the kaleidoscopic Beyond The Deathray would've broken the relentless pace but on the whole this is another shape-shifting evolution in a career full of them. [May 2015, p.103]

It's a lush, moving affair. [May 2015, p.103]

There's a pleasing magpie approach to his songwriting.... At times, however, his influences are too transparently obvious. [Apr 2015, p.107]

An album filled with skill, invention and genrey-defying fun. [Apr 2015, p.104]

[Neil Arthur] is still in strong voice, his spare, pop-savvy synths tracks are a fitting canvas for his absurdist, trenchant narratives. [Apr 2015, p.97]

It's 20-minute closer Unrelenting Unconditional, however, which steals the show with its spectacular reimagining of Miles Davis's epic early '70s experiments in transcendental jazz-funk. [Apr 2015, p.108]

The overall sense is that for all its unhinged eclecticism, Control is the product of a fiendishly inventive mind. If he can find focus, he'll be a real force. [Apr 2015, p.99]

Essential not only for fans of roots music but anyone who cares about how it shaped rock. [Apr 2015, p.116]

Campbell has picked over the bones of the past and rearranged them into something utterly brilliant. [Apr 2015, p.107]

Only on closing track Myth Me does he give into temptation and step up to the mic, unfurling a quirky, lisping ballad that shows he still can't quite play it straight. [Apr 2015, p.102]

Seasick Steve has settled into his stride with a seventh studio album that breaks no new ground but comfortably vaults the bar of his own setting. [Apr 2015, p.109]

It all works rather well. [Apr 2015, p.102]

If there's an unstable, degraded wobble under their music, it's icily controlled, a deliberate reaction to an uncertain world. [Apr 2015, p.99]

Combining jazzy looseness, rustic picking and an undertow of drugular mind expansion, this is one head cocktail that leaves no pain after it hits. [Apr 2015, p.113]