This is a n intriguing mini epic of double-drummed grooves and skronking noise. [Jan 2015, p.131]

Shrigley's humour quickly suffers from the law of diminishing returns; once the initial shock has dissipated, it fails to stand up to repeated listening. [Jan 2015, p.128]

Power has a surprisingly cohesive feel, even as it shifts from the Beach Boys-infused harmonies of On Your Own to Prettiest Ones Fly Highest's hazy, Frank Ocean-like R&B, with only the slinky house beats of Cool Like Me sounding a false note. [Jan 2015, p.125]

Frequently the music here sounds unhinged and stretched out to the limits of endurance, but it's exactly this lack of sanitisation that makes this such a thrilling listen. [Jan 2015, p.129]

The attitude's still present and correct, but there's also a nagging, Pixies-like surf melodies of Drive and the serrated riffs of Springfield Cannonball. [Jan 2015, p.122]

Monuments is an enjoyably straightforward rock album. [Jan 2015, p.128]

At every stage the songwriting is relentlessly, almost effortlessly strong. [Jan 2015, p.139]

Completists will be delighted that songs as good as Cars Can't Escape and Kicking Television have been rescued from the dead zone of soundtracks and bonus discs but there's a lot of competent Americana and superfluous concert material to get through. [Jan 2015, p.139]

It all makes a good starting point for anyone intrigued by one of the most consistently experimental indie bands of the last three decades. [Jan 2015, p.139]

Doolittle was a breakthrough.... The Peel Sessions and B-sides aren't essential, but the previously unreleased demos are fascinating. [Jan 2015, p.134]

The reverse-order approach does remind you that he has sustained startlingly well, and perhaps as importantly, that he's still in the game. [Jan 2015, p.135]

Each song still has the inevitable moment of electronic ascent but, as with Coldplay's Recent break-up record, you can';t help but wonder how these songs might've sounded left raw and unslickened. [Jan 2015, p.133]

The Voyeurs' determination to peer through the capital's sleazier keyholes should be applauded. [Jan 2015, p.132]

The greatest family jam you'll ever hear and an absolutely essential album. [Jan 2015, p.132]

No One Is Lost is the closest they've come to fulfilling their potential. [Jan 2015, p.132]

[An] immediately fascinating, a cluttered, three-records-playing-at-once orchestral fantasia that--icing on the art-pop cake--is inspired by Vladimir Nabokov's Lolita. [Jan 2015, p.131]

[The songs] slow drift proves compelling, in a faintly Virgina Astley way. [Jan 2015, p.131]

On every possible level, this album is a total blast. [Jan 2015, p.128]

Nothing Important is madcap, abrasive and, at times, laugh-out-loud funny. [Jan 2015, p.124]

It tails off slightly with too much frosted minor chord melancholy and some monochrome male vocalists, but there's nothing to suggest creative exhaustion. [Jan 2015, p.129]

Their stall is pretty clearly set out then, yet... Mind Fuzz's most enduring quality is the overriding, Technicolor sense of fun that runs throughout. [Jan 2015, p.128]

Stewart keeps that see-sawing balance alive here. [Jan 2015, p.128]

Not a novelty record, then, nor entirely old hat. [Jan 2015, p.128]

What remains is a skeletal approach to production, all spare pulses and baleful samples channeled echo-chambered effects. It turns out, thought, that Mitchell also has a feel for deceptively simple melodies. [Jan 2015, p.129]

The London Sessions isn't quite the hoped-for wholehearted embrace of the UK house nation, but it witnesses the reawakening of one of modern soul's most durable sirens. [Jan 2015, p.127]

It's still on the dancefloor showstoppers--No Enemiesz, Giant In My Heart--that she really comes alive. [Jan 2015, p.127]

Their songs retain a Scandinavian feel, at once exuberant and enigmatic on the soaring Fountain and cellophane-wrapped Vista, while pulsing, M83-like synth rush of Chasing Kites shows they've set their sights well beyond the Nordic margins. [Jan 2015, p.126]

Whether Faust is actually music has been debated since their 1971 debut, but whichever side you take, it's brilliant to have Peron and Diermaier still asking the question. [Jan 2015, p.125]