Runddans is 39 minutes of continuous music, most closely related tot he percolating grooves of Lindstrom's Where You Go I Go Too. [Jun 205, p.81]

It starts promisingly.... Elsewhere, sadly, The Traveling Kind is rather a plod. [Jun 2015, p.84]

Pleasantly surprising, then to hear Moonlust take a rather more delicate approach. [Jun 2015, p.76]

The evenness of the performances here is striking. [Jun 2015, p.74]

It's a savvy and sweetly skewed set. [Jun 2015, p.73]

Generally, Dumb Flesh is more gleaming and monolithic than ever. [Jun 2015, p.71]

It's a dynamically compelling set that taps Black Sabbath, Chic, Killing Joke, Elmer Bernstein and Paolo Conte, Mike Patton's extraordinary (six octaves) voice its focus. [Jun 2015, p.76]

The duo's third add little to territory explored by Broadcast and Sterolab, but there is still an alluring soft-porn sexiness to avant-Kraut Moog-pop excursions. [Jun 2015, p.75]

Platform is not a manifesto, but it feels like a galvanising challenge to Herndon's peers to embolden their ideas, broaden their horizons and push on into an undiscovered continent of sound. [Jun 2015, p.70]

This set of sentimental cappuccino funk is as intimate and provocative as anything Murphy's put her name to, the eight songs a fussy fusion of Balearic soul and bohemian synthpop. [Jun 2015, p.80]

This Montreal master proves himself, yet again, a consummate songwriter and master of atmospherics. [Jun 2015, p.84]

Writing separately, frontman Rim Wilson and multi-instrumentalist Ryan Carbury have come up with material that falls between the Broadway musical and the motivational speech. [Jun 2015, p.77]

Smart, sexy stuff. [Jun 2015, p.84]

Hardy's agile vocals and lyricism are never in doubt, but shine brighter on light touch arrangements. [Jun 2015, p.76]

With I Can't Imagine, she's hit on the right combination of inspiration, kindred spirits and setting. [Jun 2015, p.78]

There's a strangely disarming quality to Rose Windows' second album. [Jun 2015, p.80]

Quieter, more ethereal tracks such as "Lone Wolf" have less of an impact, showing that Landshapes are at their best when they're loud. [Jun 2015, p.77]

An album that frequently feels to be about growing pains, Sprinter may, like its predecessor, not quite be Mackenzie Scott's defining moment. All the same, it shows enough promise that we should take that as a profound positive. [May 2015, p.68]

Short, but invigoratingly sweet. [Jun 2015, p.77]

What most impresses is its warmth, dynamism and unforced difference. [Jun 2015, p.84]

A touch of monotony creeps in, although they keep it at bay through sheer volume on the closing, eight-minute "Harpooned." [Jun 2015, p.84]

Mostly these dry, derivative, rather dreary songs of endeavour are a hard slog. [Jun 2015, p.84]

The set is more interesting the more it delves into the songwriter's prodigious output, generally beefing up what it finds. [Jun 2015, p.81]

The band are at their best when they put their heads down and rock. [Jun 2015, p.83]

A wonderfully anomalous effort. [Jun 2015, p.81]

A genuine 2015 classic. [Jun 2015, p.77]

There's a softness and elegance to Trickfinger. [Jun 2015, p.83]

He roughs up synth-wave and jungle on "Apathy" and "Fading," but does so with a certain tenderness. [Jun 2015, p.81]

Impressively, Gardner's instrumnetals such as "Grey Lanes" and "All Over" show how he can effectively summon up an exquisite nostalgia for an invented '60s. [Jun 2015, p.76]

Stetson and Arcade Fire violinist Sarah Neufeld dart and dovetail elegantly, h er playing the piercing counterpoint to his imposing low end. [Jun 2015, p.81]

A record that comes on like a loving homage to the venerable Seattle label's gnarly rock of yore. [Jun 2015, p.80]

Abandoning their trademark has forsaken their identity. [Jun 2015, p.80]

Open-hearted vulnerability is what sets them apart--the desire to be cool dissipates with age, leaving them to restore funk, the album's major underpinning, to its maximalist glory following years of sublimation from bedroom musicians. [Jun 2015, p.76]

Weller's 12th solo album is characterised by cut-ups and sound collages, built around riffs and grooves. There are fadeouts and fade-ins mid-song, vocals come heavily treated, instruments are strafed with sound effects. Essentially, Weller is making a virtue of his processes. [Jun 2015, p.65]

The sense of fun has dissipated on Born Under Saturn, an hour of faintly psychedelic heads-down boogie. [Jun 2015, p.75]

It never quite matches the promise of the excellent opening half. [Jun 2015, p.75]

Much of that atmosphere [from previous albums] remains on Captain Of None, thanks to whispered vocals and a focus on the courtly pluck of a viola da gamba. [Jun 2015, p.73]

Funny, smart and so elegantly poised. [Jun 2015, p.73]

Their prevailing operatic bleakness has barely changed in the intervening 14 years. [Jun 2015, p.72]

The pill is somewhat sweetened by Braids' glossy new sound, a feelgood revamp that pairs swooning electronics with upfront drum'n'bass and will do some damage at large outdoor events. [Jun 2015, p.72]

All told, it's an awful a lot to listen to, but the scope is majestic, the ambition outrageous and the music magnificent. [Jun 2015, p.72]

[Producer] Wally Gagel, who helmed the 2013 EP "Fade Away" and now California Nights, gets it right, cranking up the reverb and multiplying Cosentino's vocals to achieve the Spector-esque wall of sound the duo has been aiming for. [Jun 2015, p.71]

Through it all runs an ingrained psychedelic streak which is organic rather than synthetic, James and co tripping out on the glory of a sunset, a beach at dawn, a mile-high mountain view. [Jun 2015, p.68]

A set of 14 patrimonial ballads drawn from all corners of Britain's folk heritage. [Jun 2015, p.69]

On occasion, the production on Who IS The Sender? threatens to swamp the plain-speaking poetics of Fay's lyrics with soupy sentimentality.... But just as often, producer Joshua Henry correctly gauges the tenor of these songs. [May 2015, p.74]

It's the thump and clatter of a 1950s backbeat filtered through the boogie of 1970s glam-rock. [May 2015, p.71]

Colours Of The Night is mostly served well by the extra hands, the songs breathing with quietly assured movements. [May 2015, p.71]

So distinctive and confessional is Eska's voice that she's created a British pastoral music that defies classification. [May 2015, p.73]

If the results are amiable rather than arresting, at this far down the road, that's surely enough. [Apr 2015, p.75]

Ba Power feels like another dramatic leap forward and a further landmark in the integration of African tribal rhythms and western rock'n'roll. [May 2015, p.85]

No News more or less repeats the formula {of its 2013 debut], with equally pleasing results. [Apr 2015, p.76]

They've delivered a less disposable, more reflective and yes "mature" set with their latest. [May 2015, p.83]

Pokey LaFarge's seventh long-player echoes and expands his mastery of bygone styles. [May 2015, p.75]

There is much to enjoy in The Past We Leave Behind's darker moments. [May 2015, p.78]

Jackrabbit is two songs and three interludes of grandiose, tuneless narrative better suited to Broadway. [May 2015, p.80]

This terrific second album from the ex-jazz singer Shah carries with it a clear air of assurance. [May 2015, p.81]

While some of N.E.W. feels a little undercooked, there are also fantastic moments. [May 2015, p.71]

It's a dynamic soundbed for her arresting singing. [May 2015, p.77]

It's edgeless, overly polite, and arranged within an inch of its life. There's little room to move. [Apr 2015, p.71]

It may be their best yet. [May 2015, p.71]

A fast-paced, multi-faceted, furiously entertaining record that reveal hidden emotional depth. [May 2015, p.79]

The resulting jams throw up a wonderful ragbag of styles, the highlight being a tribal drum stomp called "Metal." [May 2015, p.83]

You can't help but be charmed by the sincerity of these beautifully crafted homages. [May 2015, p.81]

Foil Deer is catchy, exhilarating and smart. [May 2015, p.81]

The debut LP by Elias Bender Ronnenfelt's new project feels more daring still. [May 2015, p.77]

Some of the vocal numbers feel like cluttered indie-dance throwbacks, but they are outshone by pure electronic creations. [Apr 2015, p.80]

Generally these doomy, comatose soundscapes all sound drearily similar. [May 2015, p.78]

Even if the attitude feels snarly and confrontational, the craftsmanship speaks of deep love and high-level musicality. [May 2015, p.81]

Only those with blind faith could love everything here, but dipping in randomly produces gems. [May 2015, p.91]

No Sad Songs is close to their masterpiece, each song lovingly rendered, drenched in harmonic rainfall, corralled with sympathetic, gentle arrangements, each song poetic. [May 2015, p.76]

Disparate but cohesive. [May 2015, p.69]

Infinite House sounds like a less precious Dirty Projectors swagger toward that rare place where unashamed intellect meets accessible pop. [May 2015, p.69]

Nine luminous, clean0lined songs focus on love's myriad complexities. [May 2015, p.84]

The best cuts have staying power. [May 2015, p.80]

The result is pure pleasure as Black takes the trademark Brewis sound and ramps up the funk on groove-driven art-pop gems. [May 2015, p.81]

This appears to be a case of limited resources and/or dubious decisions undermining a potentially captivating album. [May 2015, p.76]

Another illustration of the breadth and generosity of this remarkable group's vision. [May 2015, p.72]

They pull off shifts in mood and tone with routine aplomb. [May 2015, p.83]

He always wants to explore idiosyncratic digital terrains: admirable but, as his 24th LP shows, not always convincing. [May 2015, p.80]

Charms abound. [May 2015, p.73]

John Darnielle shares Haines' nostalgic affection for the stars of Martial pantomime, and deploys his deadpan indie rock and trademark wordiness to fine effect. [May 2015, p.78]

Wilson's chord changes are as heart-wrenching as ever, and bathed in heavenly harmonies. [May 2015, p.84]

His debut LP married experimental electronics and alt.pop. Now, he takes a giant step closer to the latter. [May 2015, p.73]

After a promising start, the LP soon defaults to a brand of quirky, over-stimulated electropop that doesn't really do justice to Woodhead's smart, conceptual lyrics. [May 2015, p.72]

Recording in an African village with a laptop and local musicians lends a more organic feel than previous releases. [May 2015, 84]

It's odd to praise a record for lacking assurance, but her avoidance of contrived resolution feels appropriate. [May 2015, p.84]

This fourth album owes obvious debts to classical cerebral dream pop. [May 2015, p.83]

At its best, The Magic Whip thrums with ideas and possibilities. [May 2015, p.65]

A couple of bratty, clunky bursts in the vein of the self-titled first album spoil the mood slightly. [May 2015, p.72]

Boz and co get under the skin of consistently evocative songs from the likes of Curtis Mayfield, Bobby Charles, Al Green and Bobby Charles. [May 2015, p.80]

Malin would've been wise to trim the 13 songs down to 10, thus eliminating the soggy middle of this otherwise crisp platter. [Apr 2015, p.80]

It's an understated yet absorbing work, full of delicate arrangements that are elegantly swept along by Stables' gloriously tender vocals. [May 2015, p.83]

A solid set of songs. [May 2015, p.81]

If these 13 tracks recorded between 1996 and the early 2000s can't match the perfect cohesion of the parent album, the collection's calling card is its diversity. [May 2015, p.93]

The record is as intimate and low-key as an evening home with friends. [May 2015, p.84]

The resulting batch of picture-perfect recreations reveal Tuxedo as a one-trick pony, but it's a wicked clever one. [May 2015, p.83]

[The album] follows a familiar trajectory: martial climaxes and blackened ambient passages, bombast and afterburn. Rarely, though, has that trajectory been charted so effectively. [May 2015, p.82]

Freedom Tower showcases three men who grasp that great rock'n'roll can be at once rudimentary, virtuoso and preposterous. [May 2015, p.80]