They're now coming across as though they're seriously indecisive, unable to take their upbeat dance-punk to its extremes. Tellingly, As If takes off when the group remove their vocals from centrestage. [Nov 2015, p.69]

This debut is an enjoyable, wittily written selection of material that, in its desire for vintage feel, manages to be instantly familiar. [Nov 2015, p.80]

Lead guitarist Sean Thompson displays precocious virtuosity through For Use And Delight, spinning out bent-note filigrees that recall the work of his legendary namesake. [Nov 2015, p.81]

An unambiguously terrific album. [Nov 2015, p.78]

Here are smoky, jazz-pop elegies, era-defining homages and bittersweet, elegantly orchestrated ruminations, underlining Jackson's reputation as a maverick auteur. [Nov 2015, p.77]

Pipes is the weaker collection--no remaster can disguise this. [Nov 2015, p.93]

This crisp new full-album remix merely enhances the brilliance. [Nov 2015, p.93]

Fading Frontier strikes the most satisfying balance between menacing mantric grooves of 2006's Cryptograms and the pop melodicism that emerged on 2010's Halcyon Digest. [Nov 2015, p.82]

Their jangly, soulful, melodic take on punk-pop still has freshness and urgency. [Nov 2015, p.80]

The results are frequently bewitching, if blatantly nostalgic. [Nov 2015, p.76]

Charmingly wistful and twitchily rhythmic pop songs. [Nov 2015, p.71]

Fish finds a gorgeous middle ground between lambent guitar soli, all slow rivers of singing steel string guitar, and richer, more resonant arrangements. [Nov 2015, p.72]

Jimmy Hall's vocals are unremarkable, but it barely matters; it's a guitar album and Beck still sounds as innovative and virtuosic as anyone. [Jul 2015, p.71]

There's nothing not to like, but at 13 tracks in just 37 minutes, it's all rather slight. [Nov 2015, p.76]

Alongside matters existential, there are plenty of personal expressions here. [Nov 2015, p.81]

They sound not beaten but energised by the spectre of society's destruction, off the chain and high on a cocktail of primal garage punk, astral jazz, pitch-black blues and psych ragas both damned and divine. [Nov 2015, p.77]

His 2012 debut Silent Congas was somewhat piecemeal, but I Need New Eyes feels more developed, less contrived. [Nov 2015, p.76]

[A] rich and understated debut brimming with wisdom and heart. [Nov 2015, p.79]

Julia Shapiro and Bree McKenna's vocals are brash and bratty, and there's no doubt that they'd be great fun live, but over 13 songs and half an hour, the jokes get pretty laboured. [Nov 2015, p.72]

Hard, and not necessarily rewarding, work. [Nov 2015, p.75]

His finest album yet. [Nov 2015, p.70]

Though feelings of disaffection inevitably colour Foam Island, a tentative optimistic note emerges in songs like the title track and "Stoke The Fire." [Nov 2015, p.73]

New Bermuda offers a tumultuous post metal that on passages of "Baby Blue" and "Brought To The Water," remind one more of the ethereal wandering of shoegaze. [Nov 2015, p.73]

Tracks like "Reticence," "Chrome Rose," and "I Was You" don't quite live up to their off-kilter introductions, but "Exploit Me" is a magnificent mix of Krautrock drones, sluggish tom-toms and a drunken vocal pitched somewhere between Mark E Smith, Nick Cave and Shane MacGowan. [Nov 2015, p.76]

These 12 tracks confirm Chris Difford and Glenn Tilbrook's melodic talents, but leaden exposition lyrics... make the grisly bits last a lifetime. [Oct 2015, p.83]

Plurality is the key to Clark Jr's appeal here. It also has to be said that this is a pretty safe, porous realm in which soul, hip-hop, Princely funk and ringing electric blues feed into one another. [Nov 2015, p.73]

Compton is a solid reminder of both Dre's skills and the depth of his contacts book. [Nov 2015, p.75]

Equal parts entertaining and self-indulgent. [Nov 2015, p.77]