While "Neon Dad" proves their aptitude for the same sort of psych-pop that Black Moth Super Rainbow use to free minds, "House of Glass" and "Crapture" suggest Holy Fuck are happier putting their rubbery grooves and vintage gear under serious duress. [Jul 2016, p.74]

It's a head-turning mix, a sort of pop-art take on Southern gothic, and highly infectious. [Jul 2016, p.73]

His latest fizzes with energy and smarts, and sees him letting his imagination off the leash to irresistible effect. [Jul 2016, p.70]

Never short on vocal confidence, here, she trades divadom for arresting, unconventional shapes. [Jul 2016, p.69]

With Fallen Angels, Bob Dylan, like Linda Ronstadt and Rod Stewart before him, has seen fit to continue his exploration of the Great American Songbook begun with such unexpected poise and humility on last year’s Shadows In The Night.

Their take on good old-fashioned rock'n'roll can be a bit shaggy, but it's surprisingly arty. [Jun 2016, p.74]

Day Of The Dead is an exemplary way of proving to a sceptic that at the heart of the Dead's digressions are great songs. [Jun 2016, p.66]

The Party is definitely worth celebrating. [Jun 2016, p.79]

It's hard to tell whether These People is an intentional, semi-Springsteenian work of self-reference, or whether Ashcroft just hasn't had any other ideas. [Jun 2016, p.69]

[The songs are] stoked by a slow-burning intensity that peaks in controlled explosions, Marcus Gordon's voice their focus. [Jun 2016, p.79]

{I Still Do] offers a typical Clapton mix of covers and original material. The former are rather more impressive than the latter. [Jun 2016, p.72]

Vance's earnest balladeering often sounds overly safe. [Jun 2016, p.82]

The band haven't sounded quite so spirited for some time. [Jun 2016, p.74]

A series of folds, jump cuts and swarms, it's disorienting yet utterly gorgeous. [Jun 2016, p.79]

It is intimate, sometimes almost conversational, and words are sighed, whispered, confided. Oddly, the more she pulls back, the more epic it sounds. [Jun 2016, p.68]

Bailey Rae's third LP transcends earthbound elements to create its own weightless astral soul. [Jun 2016, p.69]

It's not pretty but it's pretty effective, with tracks like "Radiant Mountain Road," "Volume Peaks" and the frantic "Babel" quickly finding a groove and then flogging it to an entertaining death. [Jun 2016, p.69]

The songs are rendered sincerely, with elegant, understated phrasing. [Jun 2016, p.69]

Simple but true. [Jun 2016, p.78]

Broder at times takes the overly tasteful route, sounding like an experimental Billy Joel, but also boldly strays into latterday Scott Walker terrain. [Jun 2016, p.73]

Yak's galloping songs are slathered with thick, fuzzed-out guitar and occasional squealing sax, pushing every available needle into the red. [Jun 2016, p.82]

The tunes, by now, are richly coloured--there are tasteful flurries of cello, violin and brass--but the centrepiece remains Michaelson's lazy baritone, which makes up in emotional richness what it lacks in energy. Happily, Dan hasn't cheered up. [Jun 2016, p.76]

The mourning is palpable, but only on a few tracks is it tuned into art. [Jun 2016, p.71]

If it's a little in thrall to its influences, it's not an altogether bad way. [Jun 2016, p.73]

This tasteful mix of analogue keys and distorted drum machines is precisely what we've come to expect from Pritchard. It's when he wanders off-piste with Bibio, Thom Yorke and Linda Perhacs that the record comes alive, and these instrumental tracks then play a vital supporting role. [Jun 2016, p.80]

With Nashville stalwart Tony Brown co-producing, she flexes both empathy and interpretive might. [Jun 2016, p.75]

Swirling and malevolent, "I&I" and "Beneath The Concrete" are compelling enough, but wading through so much posturing becomes a slog. [Jun 2016, p.76]

This double album is both poignant and richly inventive. [May 2016, p.69]