Generous of spirit and cutting-edge sound, Hopelessness is a statement for our times, and one that will not be easy to dismiss. [Jun 2016, p.63]

Will is an irresistibly immersive set-piece. [Jun 2016, p.69]

It's the hushed, soul-searching moments--especially the lovelorn "Alone In Arizona" and the gorgeous, universal ballad "A Little Help"--that resonate most. [Jun 2016, p.71]

Though disparate, it's some legacy. [May 2016, p.90]

On Paradise, cleaner recording--proudly made with Pro Tools--largely sharpens instead of defangs, while bringing out guitarist Kenneth Williams' surprisingly deep cabinet of textures. [Jun 2016, p.82]

He's hired JIm James, whose spiritual beliefs he seems to hare, along with a taste for cosmic rock and psychedelic blues, all of which figure on the compellingly heavy "Hey, No Pressure." [Apr 2016, p.75]

On his 24th solo album, the Guided By Voices man shows he still knows how to cobble together a sturdy, well-constructed song. [Apr 2016, p.78]

While Teardo's shines, balancing a tendency toward simple melodic cells with sweeping trawls of tonality, Bargeld's dry humour still comes through. [Jun 2016, p.81]

Although the title track holds a sliver of adventure with its fizzing electronic flourishes, the absence of evolution elsewhere reveals a band hanging too tightly on to the past. [Jun 2016, p.81]

Lisa Jen's ethereal voice still swoops beguilingly over Martin Hoyland's expansive arrangements, fusing harps, dulcimers and guitars with dub beats, loops and pounding bass. [Jun 2016, p.67]

For all the received wisdoms that encircle the desert blues of these groups, what's most seductive about songs like Imarhan's "Alwak" and "Addounia Azdjazzaqat" is the intimacy of the performance, a hushed wonder that breathes its poetry on the neck of the listener. [May 2016, p.74]

Though occasionally wearying in its frenzy, this is the best kind of world music, loud, liberating and explosively experimental. [Jun 2016, p.76]

The best songs are the ballads. [Jun 2016, p.79]

What sounds showy on paper is, in reality, a respectful, atmospheric tribute to the Bard. [Jun 2016, p.82]

The music here remains identifiably and intrinsically Wire. [Jun 2016, p.82]

Little Windows has an easy charm, but doing this stuff well is harder than it looks. [Jun 2016, p.81]

It's a little hard to digest in one sitting, recalling the more outre moments from Linda Perhacs, the Cocteau Twins, or Kate Bush's Aerial. But individual moments are quietly compelling. [Jun 2016, p.81]

Suuns have never been slouches in the mutant kosmische department, but the John Congleton-produced Hold/Still blasts them into a new dimension. [Jun 2016, p.81]

A remarkable accomplishment. [Jun 2016, p.79]

Unashamed nostalgia at its very best. [Jun 2016, p.78]

King Gizzard's most cohesive record to date--a hyper-detailed punk opera that few of their peers have matched for intensity, ambition or sheer derangement. [Jun 2016, p.77]

A series of convoluted psych-pop romps, some drizzled with synth-sax, that perplex and please in equal measure. [Jun 2016, p.76]

This is a fairly functional set of no-nonsense instrumental cyber-boogie that lives up to its title by bucking and slithering across the dancefloor in an elegant if anonymous fashion. [Jun 2016, p.75]

It's typical of Lamr's artistry that even a comp of offcuts comes formatted and conceptualised. [Jun 2016, p.75]

Ultimately, the delight is in the details, notably the pairing of Hawthorne's fluent basslines and the trashcan thump of ancient drum machines. [Jun 2016, p.74]

While there's a hefty serving of funk on "The Clone," Sherwood keeps his distance, bringing space to psycho-ballads such as "Abracadabra" and "Monocle Man" as the pair reassembled their skeletal, wheezing pop in intriguing new forms. [Jun 2016, p.74]

There are some strong cuts but even Pollard, who appeared more energised on his recent solo LP Of Course You Are, sounds a little tired by the enterprise. [Jun 2016, p.74]

Uber-angsty but hugely exciting. [Jun 2016, p.74]