This meld of savoury-sweet singing, moreish melody, glistening texture, strange space and surprises galore makes I, Gemini the best pop-not-pop album since Micachu & The Shapes' Jewellery. [Jun 2016, p.47]

Recognising that electronica isn't bound to depict the future any longer has given Pritchard the key to his most consistent and enjoyable work yet. [May 2016, p.54]

A deliriously infantile playhouse of sound. [May 2016, p.51]

We Are King is a lush, dynamic, and expertly crafted album that constructs a unique soundworld. [May 2016, p.50]

An album which largely plays assured and empty. Genesis is home to a few brilliant moments, however. [May 2016, p.49]

It's delightfully ponderous. [May 2016, p.48]

An album of authentic 80s nostalgia that followers of the filmmaker's canon are bound to treasure. [May 2016, p.46]

Susanna's lucid singing shines through the thematic murk, and her instrumental settings are well-defined and ingenious. [Apr 2016, p.58]

Another thunderous slab of delicious sub-Sabbath riffage with guttural-via-brattish vocal on top. [Apr 2016, p.60]

Sorrow is a faithful revision. [Apr 2016, p.58]

Like his collaborative music with Peverelist, it's these tracks' mesmerising qualities that give rise to their oblique emotional resonance, even if Utility as an album is relatively low on surprises for an artist whose history to date has been littered with them. [Apr 2016, p.55]

It's easy to imagine more time and effort infusing these tracks with more colour and variety. [Apr 2016, p.55]

It's a remarkably brutal record, gleefully stomping about with all the toys spread across the floor, and all the better for it. [Apr 2016, p.54]

There's nothing fake about the record itself, however, and any interpretations of irony will be largely rooted in the audience's prejudices about who and what certain styles of music are for. [Apr 2016, p.46]

With mute on, Smith can project a tender fragility through a single lingering note, reminiscent of Miles at his most thoughtful and noirish circa Ascenseur Pour L'Echafaud. Smith's more strident statements convey an emotional rawness. [Apr 2016, p.65]

On the whole Ash Koosha aka Iranian composer Ashkan Kooshanejad's follow-up to Guud is a likable gem of an album. [Apr 2016, p.62]

If you prefer your African music to be more dancefloor-friendly, Batida's Portuguese take on Konono has plenty going on. [Apr 2016, p.54]

There are moments when the structure of this album fails to centre itself, and it is easy to get lost in the finer details of the arrangements. ... It is clear from Love Streams, with its increased manipulation of vocals and wider palette, that he is becoming braver. [Apr 2016, p.51]

One of the chief sources of the album's power is the value it assigns to the act of witnessing, of seeing and taking account of the most vulnerable. [Apr 2016, p.47]

In spite of the road drill rhythms, punished percussion and damaged vocalising, though, the collaboration fails to fully connect. [Apr 2016, p.46]

The fact that Thug's voice can express plaintive, mournful sorrow is perhaps the most surprising aspect of this tape, even among all the astonishing vocal pirouettes and cries. [Apr 2016, p.64]

On Malibu, melody unifies and smooths over divisions: rap and R&B, black history and black modernity, spiritual uplift with the rough material of the everyman's everyday, all made cohesive by Paak's considerable songwriting talent. [Apr 2016, p.64]

The music is meditative and calm-inducing, though occasionally it leans a little too much towards Opal Records tropes, particularly the piano-led pieces. [Apr 2016, p.62]

Hiperasia offers a vivid, feverish soundworld of Auto-Tuned vocals, idyllic electronics and machine beats solid enough to stand alongside the best US R&B currently has to offer. [Apr 2016, p.60]

There is an alchemy at work here. [Apr 2016, p.57]

Pablo grips your attention through an attraction-repulsion effect: the attraction largely pertaining to the sonics, the repulsion manifesting almost entirely in the lyrics. [Apr 2016, p.52]

Despite the bloodlettting and reckless spending, Future just sounds bored. And occasionally lazy. [Apr 2016, p.50]

This album is his confident and impressive soundtrack debut. [Apr 2016, p.48]