While there's nothing here to equal his career-changing hit "P's And Q's," opener "Hail" comes close with its down-and-dirty signature riff. [Apr 2016, p.75]

Much to admire, even when the provenance is so blatant. [Mar 2016, p.81]

It's covers that make the bulk of the songs, and some are more successful than others. [Apr 2016, p.90]

As on debut Eighteen Hours Of Static, there's a sinister feel, as if you are being sometimes stalked an sometimes assaulted, often, as in the case of "So Much You," in the same song. [Apr 2016, p.69]

It's a typically sharp uppercut from the former lynchpin of The Broken Family Band and Singing Adams. [Apr 2016, p.67]

Though the sonic palette, beautiful and immersive, warm like a hot mug in the frost, the dubstep-derived hints of double-time, perpetually held in reserve, create the ominous feeling of an attack dog straining at the leash. [Apr 2016, p.69]

A lack-Qluster addition to the Roedelius catalogue, perhaps, but fascinating in its own way. [Apr 2016, p.79]

The varied works of this Portland-born bassist and singer have suggested a giant talent that spills out of jazz into Brazil, R&B, music theatre and even thrash metal. This semi-autobiographical concept album pushes her deep into art-rock territory. [Apr 2016, p.79]

With its wild swings between pummelling dirges and more symphonic exercises in doom-mongering, seventh album, The Gospel, evokes the more artistically ambitious but no less menacing likes of Killing Joke and Swans. [Apr 2016, p.69]

Rarely do you sense the real pain that underpins these limp ballads and her aggressively mannered delivery. [Apr 2016, p.75]

If anything, it can feel a little too smoothed out, and some more grit in the production wouldn't go astray. [Apr 2016, p.71]

Everything feels remarkably fresh and unforced. [Apr 2016, p.68]

Trees might be the best '70s antecedent; the Japanese Ghost a more modern analogue for these seething reveries, tantalisingly poised on the edge of freak-out. [Apr 2016, p.74]

A visceral, candid and thrillingly propulsive depiction of her efforts to work through her father's abandonment when she was a child. [Apr 2016, p.81]

This expertly wrought debut is an impressive platform for twentysomething polymath Heloise Letissier. [Apr 2016, p.71]

Pond Scum is an archive project, albeit one delivered with all the caginess we expect from this most capricious of singer-songwriters. [Apr 2016, p.90]

If their third album doesn't exactly do anything new in the field, it is undoubtedly well observed. [Apr 2016, p.82]

Life Of Pause demonstrates a more playful and propulsive approach. [Apr 2016, p.82]

One of his most engrossing albums yet, a gorgeously unsettling collection of itchy electronics. [Apr 2016, p.81]

To their credit the quartet's swaggering garage rock, stuffed with grit and glam, has a certain edge, largely due to frontman mark Saunders' Welsh-accented sneer. [Apr 2016, p.81]

One of the most coherent and surprising big-ticket pop albums in years. [Apr 2016, p.79]

Peachy-keen harmonies, pop smarts and salacious detail make a simple but effective combination. [Apr 2016, p.78]

Thankfully, they rewire this timeless aesthetic with more open-minded affection than stifling reverence. [Apr 2016, p.73]

El Guincho is a kind of Iberian Kanye, and this is a twisted fantasy of wine-bar techno: busy, brash and migrainey, at its adventurous best on "Comix" and "Mis Hist." [Apr 2016, p.71]

Overblown and occasionally excruciating, I Love It...'s fearless perversity nonetheless puts most "alternative" bands to shame. [Apr 2016, p.67]

Not even this collaboration's most thunderous moments detract from the quieter power of the singer's frank, free-associative lyrics. [Apr 2016, p.74]

It's a more poignant epitaph to their fine career than the dour and sometimes impenetrable The High Country. [Apr 2016, p.77]

Unique and inspiring. [Apr 2016, p.75]