With pleasing inevitability, A Shadow In Time does not disappoint. [Mar 2017, p.25]

Sampson has broadened her horizons on this largely self-produced album, mastering a richer range of sounds and styles clipped synthfunk to sleek R&B to sumptuous gospel-pop. [Feb 2017, p.37]

Deconstructing socio-cultural norms rarely sounds like so much fun. [Feb 2017, p.24]

A different, more elegant affair. [than 2014's Mosaic]. [Feb 2017, p.38]

The band aren't afraid to diversity. [Feb 2017, p.30]

There are shades of The Smiths and The Sundays in the likes of "Strange Warnings" and "Take Yourself With You," while opener "Colour Of Water" is a near-perfect piece of electro-pop, at once wistful and joyful. [Feb 2017, p.24]

Within its narrow punk framework, the music is reasonably effective. [Feb 2017, p.24]

An album that finds wildness in unexpected places. [Feb 2017, p.16]

Somewhere on the feral fringes of indie civilisation, Half Japanese remain kings of their own tiny jungle. [Feb 2017, p.28]

Lush and lively. [Feb 2017, p.29]

A fine album. [Feb 2017, p.35]

A characteristically indefinable collection guaranteed to please their larger continental fanbase. [Feb 2017, p.35]

While the duo's tempo remains measured and its atmosphere is typically grand, thanks to a 40-piece orchestra, Iris puts more emphasis on modular synths. [Feb 2017, p.38]

They nevertheless sound irresistibly fresh and zesty. [Feb 2017, p.23]

Morrissey's rather affectless delivery drains any celebratory urge from "Grease." But "Sunday Morning" is a triumph. [Feb 2017, p.33]

Migration, road-tested in SJ sets, finds Green cruising into that emotional landscapes occupied by the likes of Jon Hopkins and Mark Pritchard. [Feb 2017, p.23]

The best and the worst thing about these, as with the rest of the album, is that it's impossible to think of a better descriptive adjective than "Cohenesque." [Oct 2016, p.40]

Johnston suits the form, finding a hitherto largely latent frailty and vulnerability in his voice. [Jan 2017, p.24]

The portraits of Hey Mr Ferryman, shaped into gorgeous studies of sympathy by Bernard Butler's production, are compelling in their starkness, their raw, unchecked humour, and their kindness toward people who, as Eitzel says, are looking for "something that will lead them to light and safety." [Feb 2017, p.20]

Overall, a triumph of assurance and tenderness. [Feb 2017, p.28]

Voyager is awash with cascading Jean-Michel Jarre-ish Eurosynths and pulsing Moroder-esque Rhythms. But Arbez-Nicolas eventually diluted his plan by adding contemporary beats, noises and guest vocalists. [Feb 2017, p.38]

Retro-kosmische pastiche is now firmly established as a lazy good-taste signifier, but it does not excuse mundane plodders such as "Turncoat" or "Motorbath." Thankfully, Soft Error move beyond retro-hipster orthodoxy on their best tracks. [Feb 2017, p.38]

With his band's thrilling fourth album, Baldi successfully develops his own take on the merger of powerpop and hardcore brawn. [Feb 2017, p.24]

Self-aware and possibly self-satisfied, this is wildly overloaded pastiche taken to ludicrous but highly entertaining extremes. [Feb 2017, p.28]

The retro musical mood on Happy Rabbit fits the lyrical tone. [Jan 2017, p.24]

The delicate touches and melodic strengths shine. [Jan 2017, p.23]

[The] now East Memphis-based artist comes off as an eloquent country/folk songsmith. [Feb 2017, p.26]

It seems relocating from Vienna to L.A., getting married and becoming a father has nudged the British-born producer-performer closer t conventional R&B electro-pop on his second album, with mostly positive results. [Feb 2017, p.38]