The likes of the title track and "Sleep On The Floor" are pleasingly Ryan Adams/Gaslight Anthem-ish; elsewhere, as on "Gun Song" and "Angela" it all gets a bit Mumford & Sons. [May 2016, p.76]

Even by Deftones standards, their eighth album is hardly immediate. [May 2016, p.71]

Some of the music here illustrates the limitations of the formula, sometimes lapsing into lumpy blues-rock or new-age noodling. [May 2016, p.70]

He's an engaging singer-songwriter whose instinctive, winning wryness takes the edge off some occasionally ruggedly confessional material. [Apr 2016, p.69]

They could do with adding a bit of mystery to their armoury--there's a clarity and earnestness to some of Wolves Of Want that can underwhelm--but the group come with a clutch of great songs that would sit nicely on a long-awaited third volume of Modern Method's compilation series A Wicked Good Time! [Apr 2016, p.69]

There are clearly mad skills at work, but silent Earthling is rarely anything other than a simple pleasure. [May 2016, p.81]

Despite the odd dreamy detour into girl-group psych-pop, this slender 10-tracker is bulked out with a little too much autopilot retro-kitsch filler. [May 2016, p.79]

Despite its many-handedness, Rainbow Ends is an intensely personal vision. Indeed, it feels more like a companion piece to his great ’70s work than it does a postscript.

The writing, revealing literary influences and the deep, weird old America depicted by, say, Merle Kilgore, is astute, while stripped-down, archaic Appalachian arrangements play tricks with time. [May 2016, p.73]

She addresses transformation, loss, connection and apartness in literate, finely turned pop songs centred on her sweet, pellucid voice and filled out with dreamy loops and strings. [May 2016, p.73]

Their benefactor this time is Brian Burton, aka Danger Mouse, who evidently hears something in their moody atmosphere-building. By and large, Pussy's Dead reveals them as a muso sort of band. [May 2016, p.69]

The Follower delicately shifts the emphasis from trance to techno, continuing the slow descent into darkness begun with 2013's Cupid's Head. [May 2016, p.73]

A set that feels avant and outre and yet deliriously danceable at the same time. [May 2016, p.75]

For all its diverting technical backstory, for all our attempts to manoeuvre Tim Hecker into various neat genre boxes, ancient and modern, his music is ultimately ravishing in a way that transcends method and contest, [May 2016, p.83]

They're still a little too in thrall to the obvious precursors to take flight, but there are some great, clanging pop songs here, too. [May 2016, p.78]

Produced by The National's Aaron Dessner, their fifth album inflates Selkirk's hand-knitted Coldplay to vast proportions. [May 2016, p.73]

III's weaker tracks are more diffuse, lacking the verve that Underworld once brought to this kind of porg-influenced, epic-scaled electronica. [May 2016, p.76]

Since rising to attention with 2009's Me Oh My, Cate Le Bon has turned out four albums of arch, otherworldly guitar pop, of which Crab Day is surely the best yet. [May 2016, p.75]

L'Aurore finds Cedric Benyoucef and Charlie Boyer pursuing a rawer, more improvisatory approach than on albums prior. ... Actual songcraft can take a back seat, though. [Apr 2016, p.82]

All up, a convincing shift. [May 2016, p.73]

All 10 tracks on his solo debut album are effectively reiterations of the same song, but it's a terrific one. [May 2016, p.79]

There's something bleak about this music, but it is spacious, often epic, too. [May 2016, p.73]

It's the raw-cut trinity of JB, Otis and Solomon Burke that informs this album. ... Expect delights throughout. [May 2016, p.69]

As ever, he showcases a poetic turn of phrase and hopscotches across a dizzying array of styles. [May 2016, p.69]

Even when the mood turns slow and swampy on "Chain Of Keys" and "River Anacostia," the intensity never wavers. [May 2016, p.74]

The droll self-awareness and blunt strum of their songs may have you thinking of The Go-Betweens, but it's more a general stylistic flourish that has The Goon Sax coming across as classic Brisbane pop. [May 2016, p.74]

The disparate elements feel abstract and abrasive in places, yet the whole is sumptuously melodic and sonically rich. [May 2016, p.75]

It's undeniably awe-inspiring and effective stuff, nut for fans, there's a sense of well-worn tropes entering half-life. [May 2016, p.76]