Girl At The End Of The World extends and advances on its predecessor's spirited reboot. [Apr 2016, p.74]

The garbled way in which The Coral piece these disparate elements together creates an odd, timeless and cosmic music, buzzing with energy, and very much their own. [Apr 2016, p.80]

What might have been a dry academic exercise is in fact a seductive display of its polyphonic subtleties, which Bourne bends into mood-shifting soundscapes. [Apr 2016, p.70]

Even if several songs see them veer too close to conventional power balladry or Joy Division karaoke, Holy Esque are mostly wise to favour the first part of the time-honoured go-big-or-go-home strategy. [Apr 2016, p.74]

Jenkins conveys his obsession with sound beautifully. [Apr 2016, p.71]

Willie Nelson and Elvis Costello appear as duet partners, affably resigned to not competing with that unmistakable undimmed voice. [Apr 2016, p.75]

Convenanza is only Weatherall's second album, but it feels as if he's been making this fantastic, moody music all his life. [Apr 2016, p.82]

Grandfeathered is no great progression from last year's Everything Else Matters, but there is genre-defying richness and depth to [the] tunes. [Apr 2016, p.78]

United Crushers establishes a more muscular sensibility for the American quartet. [Apr 2016, p.78]

A soaring, Ian McLagan-dedicated Small Faces cover, "All Or Nothing," is the spiritual centrepiece of the set, but every song arrives with crisp melodies, burning guitars and impassioned vocals. [Apr 2016, p.81]

Faithful to the source material and occasionally inspired. [Apr 2016, p.81]

The added muscle suits them and you wish there were more of it. [Mar 2016, p.76]

You Know Who You Are is a smart, dynamic effort that breaks some new ground. [Apr 2016, p.76]

Little on Painkillers would sound misplaced on any given Gaslight Anthem album. Which, if one is predisposed to the band's hearty but thoughtful brand of rock'n'roll, is no bad thing. [Apr 2016, p.73]

A jumbled record that veers from Screamadelica nostalgia to wobbly Bontempi soul to hushed acid-folk without ever quite finding a sound of its own. [Apr 2016, p.79]

Arrangingtime functions as both a means of closure and a creative reboot. [Apr 2016, p.82]

Leschper meditates on creativity, identity and self-doubt in a voice that's equal parts Angel Olsen and Waxahatchee, while the music--played by a full band--runs the expressive gamut. [Apr 2016, p.76]

A cameo from run The jewels is a final treat on an album full of them. [Apr 2016, p.76]

The lack of ironic twists is both slightly unsettling and hugely refreshing. [Apr 2016, p.83]

The swinging, jazz-country arangements are perfect, too, hitching the polished, romantic sophistication of the songs to a down-home, rootsy bonhomie that draws comparison with Dylan's reinterpretations of the Sinatra songbook on 2015's Shadows In the Night. [Apr 2016, p.78]

While Heather McEntire's wonderful voice is a natural country conduit, there's not quite enough around it, her bandmates opting to frame her tones in fairly pedestrian roots-rock settings. [Mar 2016, p.76]

A mildly Enya-fied take on the kind of astringent orchestral punk pumped out by Montreal's Constellation label, it has its moments. [Mar 2016, p.77]

These dusky vignettes are embellished with delicate shades of cello and synth, making them most suitable, like his debut, The Houseboat And The Moon, for a quiet night in. [Feb 2016, p.71]

The rewards are high. [Mar 2016, p.73]

While the arrangements are loaded with clever touches, the LP comes off like an exercise in technique, preventing Price from reaching the transcendent moments she's clearly capable of. [Mar 2016, p.76]

Flashbacks to The Orb's Adventures Beyond The Ultraworld and the KFL's Chill Out are inevitable, but there are woozy hints of early Black Dog on "C," too. [Mar 2015, p.77]

Sonically adventurous, Phase is unafraid of chunky choruses, bedroom confessionals and twisted synth arrangements. [Mar 2016, p.75]

This is bustling rock'n'roll that doesn't think too hard about much else. [Mar 2016, p.82]