[An] excellently focused overview. [Nov 2016, p.70]

Producers of Stranger Things, look no further: we have that second series soundtrack for you. [Nov 2016, p.70]

Once this inward looking tendency was a strength; now it seems safe. [Nov 2016, p.68]

This is a synth album of considerable finesse, a soundtrack to imaginary films. [Nov 2016, p.67]

It feels distasteful to rate so powerful, so raw an album in any aesthetic terms and yet it brilliantly, blackly, radiates life. Skeleton Tree is a work of mourning, yes; a work of reverie, yes; and also an immensely moving attempt to reach out of blackness towards life. [Nov 2016, p.65]

The Sun's Tirade is a master class in restraint and pacing. [Nov 2016, p.64]

They're entering into new territory now and have yet to push as far out as they need to. [Nov 2016, p.62]

It's a genuine pleasure to hear an ensemble this aesthetically united working at such a high level. [Nov 2016, p.61]

Human Energy is a rainbow emerging on a clear summer's day. [Nov 2016, p.61]

This wonderful music is most certainly bleeding freely from somewhere deep inside Jenny Hval. [Nov 2016, p.58]

The result is one of the year's most thought-provoking electronic works. [Nov 2016, p.56]

You Know What's It's Like presents the emotional cente of dal Forno's work with a clarity previously absent from either band. [Nov 2016, p.55]

Color is an album of two halves, with gloomier hues on side two. [Nov 2016, p.53]

Ultimately the album's strength lies in the way its civil facade barely masks Trim's enduring unresolved issues, its portrait of an MC looking to simultaneously escape, dominate and earn the acknowledgement of a scene he transcended a long way back. [Sep 2016, p.62]

On top of the crisp, sympathetic playing, the songwriting and vocals stand out with tunes that could have come straight from the Treasure Isle songbook. [Sep 2016, p.59]

The album feels like paten's mostly mechanically calculated and precise output to date. [Sep 2016, p.59]

The mix between organic and technological sonics, including the harmonious tones of Williams's own voice, makes for a mesmerising debut. [Sep 2016, p.59]

A compelling tribute from one iconic vocalist to another. [Sep 2016, p.59]

[JR Robinson] edited them later into a musical Frankenstein breathing life into the stories of monsters. [Sep 2016, p.59]

Everything that 30 years ago made Dinosaur Jr a lightning bolt of enervated languor is present here. [Sep 2016, p.59]

Dragged out doom riffs and saw-edged unison vocals capture their fury and helplessness. [Sep 2016, p.59]

At times the tracks become as texturally rich and contradictory as those of Actress on 2014's Ghettoville. [Sep 2016, p.58]

WWWINGS deliver an album that has the rumbling force of feet stomping in unison but which is finished with a hi-tech sheen. [Sep 2016, p.57]

Walker's latest project effectively balances the saccharine with hovering fear, demonstrating his continued capacity for writing cinematic music invested with strange drama. [Sep 2016, p.57]

The songs' parts don't always transition as smoothly as the listener might like, making them feel like a long sequence of moments rather than a single, shifting musical experience. ... Still, when Pack and Pendleton are gliding above the battlefield, voices and violins arcing slowly around one another, there's a real beauty here. [Sep 2016, p.56]

The results are deceptively impressive. [Sep 2016, p.54]

Earl has delivered a remarkably clear and impressive record. [Sep 2016, p.52]

As half-familiar figures and distorted memories of long forgotten acid mood jams drift in and out of view, one is reminded that sometimes the most exotic species are those living in our own minds. [Sep 2016, p.50]