The Ghosts Of Highway 20 is vast, thoughtful and profound. [Feb 2016, p.81]

Moth's incessantly hiccuping polysyllabic pop lacks soul and sticking power. [Feb 2016, p.73]

The vibe is darkly grandiose. [Feb 2016, p.83]

A lovely understated album. [Feb 2016, p.75]

As a musical representation of physical and mental decline, it is morbidly compelling. But in the wrong mood, it's a bit of a trudge. [Feb 2016, p.75]

The Belfast trio revel in producing the sort of catchy, fuzzy pop exemplified by the hooky "Ordinary Daze" and "Down Dog," although they can also work in more expansive territory, like "I Won't Let Go." There's wit too. [Feb 2016, p.79]

Basar is marred by a couple of misguided forays into coffee-table trip-hop, but when Africaine 808 aim for the dancefloor, they usually hit the spot. [Feb 2016, p.71]

Not only a welcome "return to form" but sounds like a career pinnacle. [Feb 2015, p.82]

What the Jets might have lost in terms of their early quirkiness, they make up for in melody and emotional heft. [Feb 2016, p.78]

It isn't easy to pigeonhole, but it could just be one of the albums of the year. [Feb 2016, p.84]

The result: Meiburg's finest album to date. [Feb 2016, p.80]

They have at times found themselves mired in over-fussy arrangements, but here recapture something of the crisp economy of their breakout 2007 LP ...Are The Dark Horse. [Feb 2016, p.73]

It's a filthy, fun blend of stripped-back rock'n'roll, punctuated by zombie seventh chords, rasped blues vocals and an Old World punkish intensity. [Feb 2016, p.75]

Despite the familiarity, Infinite Summer has a heart, and could probably melt permafrost with a single playing. [Nov 2016, p.79]

He's been in this territory before, covering the Bunnyman's Crocodiles (2001), but never with such verve. [Dec 2015, p.79]

Tan remains aloof and introspective, still murmuring about lonely walks and cigarettes, but now there's a swagger and verve to his production. [Jan 2016, p.75]

It's perhaps the best introduction yet to the sometimes-confusing world of Sun Ra. [Feb 2016, p.94]

Overall, it's rather slight and inevitably rough around the edges.... But there's still considerable entertainment to be had from Segall's urgent renditions of "Cat Black: and "Buick Mackane" while his take on "The Slider" and "20 Century Boy" are magnificent reboots. [Feb 2016, p.94]

Not as violent as Hexadic but no less unsettling, this is a strange and fascinating album from an artist who continues to evolve. [Feb 2016, p.80]

Alternating between acoustic ballads and full-on roots rockers could have created a disjointed feel, but it works splendidly with the salty, blue-collar honesty of his dustbowl voice providing an emotional cohesion on vivid, affecting songs such as "Heart's Too Heavy" and the warmly nostalgic "American Flags In Black & White." [Feb 2016, p.78]

The record as a whole is an energetic, infectious romp through trap, Auto-Tune, West Coast soul and warm balladry. [Feb 2016, p.78]

His voice remains an effortless marvel, largely wasted on this slick but trite material. [Feb 2016, p.75]

This 3CD/5LP set ably performs the mixed blessing of making you feel that you are there, and annoyed that you weren't. [Feb 2016, p.74]

On his third LP he sounds closer to Smog's Bill Callahan, his forlorn baritone suffused with a world-weariness that suggests a singer twice his age and experience. [Feb 2016, p.77]

This one finds him plugging in and creating a doleful jangle that often feels like a bedsit Velvet Underground fronted by Lawrence or Ray Davies. [Feb 2016, p.73]

A set of songs that inscribe their intensities and their romantic visions directly on the listener's heart. [Feb 2016, p.76]

For every textured, tasteful track that evokes Tortoise's mid-'90s peak as a prime exemplar of US indie's brainiest strain, two deviate wildly. [Feb 2016, p.83]

Intense. [Feb 2016, p.78]