Despite the occasional lapse into polished AOR, this is another classy, sassy step forward from a restlessly inventive pair. [Oct 2016, p.39]

Tracks such as "Dragon Bones" and "Joan Of Arc" have bigger, stickier hooks than anything he's written since "Sheila." [Oct 2016, p.39]

Their ninth album might be their best this millennium; a triangulation of mature soppiness, mitigated contentment and indelible tuneage. [Oct 2016, p.39]

The most radical treatments are the highlights. [Oct 2016, p.40]

The first four tracks are moody, post-rock instrumentals, but elsewhere filthy, squalling guitars and a meaty swing dominate. [Oct 2016, p.40]

Tough, yet seductive. [Oct 2016, p.40]

The Hanging Valley blends whooshing motorik drums, a lyrical archness reminiscent of Wire, and a love for repetition that borders on the pathological. [Sep 2016, p.71]

While this second effort has its engaging moments, Leftwich has stuck dispiritingly close to his early template of delicate folk with hushed vocals and lyrics about bruised hearts and rain. [Sep 2016, p.75]

A record that provides few surprises but at least captures the feral energy of their live shows. [Sep 2016, p.78]

Animal Races offers few departures, being exploratory and decidedly retro, but it's appealingly rendered. [Sep 2016, p.71]

Cameron nonetheless hits the mic with the total hip=grinding conviction, as if daring you to proclaim him an ironist. [Sep 2016, p.70]

The 12 songs on his eighth ares till gloriously strange, though: lyrically as kaleidoscopic as mid-'60s Dylan, and packed with fascinating, contradictory references. [Sep 2016, p.76]

A Place Called Bad augments such high-water marks as 1983's Blood red River with rarities and live tracks like a 1983 demolition job on Captain Beefheart's "Clear Spot." All of it whets the appetite for explorations of Salmon's sprawling post-Scientists oeuvre. [Sep 2016, p.88]

For all of their doom-mongering--this record feeds on notions of dereliction and abandonment--Marconi Union always finds beauty in the bleakest places. [Sep 2016, p.76]

Some of it is a little too cosy and overly earnest, White tending to excel on the more spirited likes of the swampy "What's So" and "I've Been Over This Before." [Sep 2016, p.81]

Sometimes it makes sense. A lot of the time, it doesn't. [Sep 2016, p.74]

There's a pleasing lyrical grit to At Swim. [Sep 2016, p.74]

A Weird Exit has an immediacy and coherence that was missing on previous outing, 2015's Mutilator Defeated At Last--a fine album, but not as hooky as this one. [Sep 2016, p.80]

Tonight's Music finds Davies returning to The Moles' first principals of beguiling deadpan psychedelia, as if Syd Barrett had lit out to New Zealand in the 1980s and joined The Chills. [Sep 2016, p.76]

This being a soundtrack and not a convetional Scott Walker album, there is no sign of that pale, lieder that floats through latterday Scott Walker records like a phantom. But there are clear points of continuity between The Childhood OF A Leader and recent studio albums The Drift and Bisch Bosch. [Sep 2016, p.68]

Coomes rasps and hollers across the kind of gurgling voodoo boogie that Suicide or Clinic would consider too deranged to release. [Sep 2016, p.71]

Morgan Delt has moved to Sub Pop and upped the ambition for this excellent follow-up. [Sep 2016, p.73]

Their debut is squeaky-door dub that offers unexpectedly plentiful tunes. [Sep 2016, p.73]

As enchanting as it is, Moon Saloon can inevitably feel overstuffed, such that Adams may best succeed in the album's least ornate moments. [Sep 2016, p.69]

Not exactly groundbreaking, but not reverentially retro either, and full of fizz and vigour. [Sep 2016, p.74]

Loveless' songwriting on Real is sharp, economical and wickedly funny. [Sep 2016, p.77]

The album unfolds like a fever dream, the instruments bleeding into each other, awash in echo, as Arthur layers metaphors much as he layers the parts of the self-performed album. [Aug 2016, p.71]

No Scare careens between sunbaked Americana, dreamy melodicism and more aggressive moves that are less reminiscent of Walker's exploratory folk-rock than the full throttle pummelling of Rosaly's sides with jazz titan Peter Brotzmann. [Sep 2016, p.75]