The warm production, matched to their adoption of modern techno aesthetics, has upped the intensity of the sonic kink. [Apr 2015, p.98]

If you're eager for a record that eats its influences raw in order to fuel a whole new world you'd better look elsewhere. [Apr 2015, p.112]

Terraplane pays tribute to the greats and puts 60-year-old Earle's own slant on living with a broken heart. [Apr 2015, p.99]

Nine albums later the sextet's mix of American pop classicism and Khmer-language vocals is ever more indivisible, the melting pot now also including African rhythms. [Apr 2015, p.99]

Enthusiasts for dooomy extremes will find much to love here. [Apr 2015, p.97]

EarthEE finds that magic spot where the feet are grounded but the head's floating on a cloud. [Apr 2015, p.111]

Snapshots of old stand-bys come through, but it's in tunes such as the disco tribute Rainbow and the clonky piano of The Drifter that his gift for marrying the modern to history, both recent and ancient, really shines. [Apr 2015, p.108]

The 11 tracks on Citizen Zombie find these progenitors of the "Bristol sound" in satisfying rude health. [Apr 2015, p.108]

There are strong cameos from assorted MCs, particularly Juicy J and Schoolboy Q, but his attempt to talk a girlfriend into a threesome on Story Time is proof there are even worse things in life than dabbling in Eurodance. [Apr 2015, p.108]

Clocking in at 23 minutes, they're never in danger of outstaying their welcome, even if raucous blasts such as Misery Factory implode too quickly to become actual songs. [Apr 2015, p.108]

The results defy you to even care whether it's real or fake: it rocks, end of story. [Apr 2015, p.107]

The first few tracks are like The Black Crowes without the cosmic sophistication. [Apr 2015, p.104]

[A] coolly unnerving full-length debut. [Apr 2015, p.102]

More an EP than an album, it's possibly not for the unwitting. [Apr 2015, p.102]

Though Gang Of Four are the same bracing proposition as they ever were, 2015's literary imagery and less blokey vibe mark a successful leap sideways. [Apr 2015, p.100]

The best songs have some serious bite. [Apr 2015, p.108]

Rebel Heart often strikes a more tentative note.[Apr 2015, p.100]

It all adds up to an album alive with lyrical purpose, bookended by outright classics, and plenty of interesting moves and grooves in between. [Apr 2015, p.92]

Revolt may not be the sonic revolution Tinley aspires to but reconfirms him as one of UK dance music originals. [Mar 2015, p.103]

Paring down the roster to give more space to standout performers would have made this hit-and-miss debut fell less like a lucky dip. [Mar 2015, p.106]

What emerges contains much that's familiar but it's presented in revitalised new settings, with grit, urgency and delicacy in abundance. [Mar 2015, p.117]

The parts here still speak louder than the whole. [Mar 2015, p.110]

The Canadians [Badbadnotgood] deliver in spades.... Even when Ghostface doesn't bring his A game, he gets by with a little help from his friends. [Mar 2015, p.108]

Pitched somewhere between James Blake and Erykah Badu, it's a subtly delightful album. [Mar 2015, p.109]

It's uplifting stuff. [Mar 2015, p.104]

Public Service Broadcasting stitched archive audio footage into evocative instrumentals. [Mar 2015, p.114]

The technical proficiency can't make up for the uneventfulness of the material. [Mar 2015, p.104]

Not for the faint-hearted then, but there's definitely something to enjoy in its sheer bloody-mindlessness. [Mar 2015, p.117]