If it's a little too impressionistic to last the 17-track distance, then Freetown Sound still seduces. [Aug 2016, p.73]

It's addictive, delirious and madcap, Martha turning anxiety into exuberance. [Aug 2016, p.78]

The Bride is her most accomplished realisation of her wandering mind yet. [Aug 2016, p.65]

Harvey's intimate understanding of Serge's rich catalogue allows him to smother markedly different compositions such as "Ce Mortel Enniu" (1958) and perverted mid-70s gear "SS Si Bon" and "L'Homme a Tete De Chou" with a menacing Bad Seeds swagger that unifies Delirium Tremens. [Aug 2016, p.76]

Ibifornia features slightly too many faceless party-friendly dance-pop bangers. [Aug 2016, p.73]

Singer-guitarist Ian Felice brings real pathos to lucid tales of characters in various states of dissolution. [Jul 2016, p.74]

It's steeped in the snotty multi-coloured psych of the Elevators, the Seeds, Os Mutantes and, via the parping Farfusa of "Follow Me Home," early Doors. [Aug 2016, p.80]

Although Kramer sometimes lacks the craft and discipline to make his purposely flimsy sonic treatments stand up as full-blooded songs. [Aug 2016, p.83]

[A] darkly beautiful tour de force. [Jun 2016, p.75]

Postcards From... represents a diary of five years of travel, though these 10 instrumentals are less reflective of the locations where they were conceived than the moods they inspired. [Jul 2016, p.70]

The Last Days Of Oakland is a polished--but not too polished--set of soulful blues. [Aug 2016, p.75]

Wonderful stuff. [Aug 2016, p.76]

This careful layering of old and new, east and west, has something of the forensic deliberation of post-rock experimentation about it, but songs like "For Everything That You Lost" and "They Keep Silence," which evokes Killing Joke, are thrilling in their intensity. [Aug 2016, p.77]

A heroic mutual soppiness is the key tot his dreamy two-tracker. [Jul 2016, p.74]

Fortunately, they haven't forsaken their natural songwriting strengths. [Aug 2016, p.70]

He's hit the sweet spot between fresh and the familiar. [Aug 2016, p.83]

Much more than just a hobbyist fancy, 2 is, in fact, far better than it has any right to be. [Aug 2016, p.82]

The melancholy underscoring even the android-sex jam feels both personal and more than a little musty. [Aug 2016, p.80]

There's a lighter, more hopeful bent to the musical settings, which perfectly balance the more dissonant leanings of The King Of Limbs with a sumptuousness and gentleness they've rarely sought since OK Computer. [Aug 2016, p.81]

There's little on the pair's ninth album that will surprise longtime admirers; rather, Plaid play to their strengths. [Aug 2016, p.80]

This third album sees her come into her own as a songwriter with a seductive collection of slow-burning synth-funk. [Aug 2016, p.80]

There are too many blandly chipper moments that feel better suited to mobile phone ads than an album. [Aug 2016, p.77]

Glasper's keen-eared stewardship throws up some astonishing alchemy. [Aug 2016, p.75]

More than once, it is difficult not to drift into wistful contemplation of the splendid, unreconstructed rock'n'roll racket of which they might be capable if they tried underthinking things for a change. [Aug 2016, p.74]

The Colour In Anything is Blake's fullest and boldest work yet. [Aug 2016, p.72]

Undercurrent is an enthralling journey from source to mouth. [Aug 2016, p.72]

A more refined classic techno sound, paying homage to his adopted hometown of Detroit. [Aug 2016, p.71]

It's the thickness of these synth textures and the intensity of the sounds that create a thoroughly immersive experience. [Jul 2016, p.78]