Cool or not, at least they're going for it. [Sep 2015, p.76]

Turner delivers his self-empowerment anthems with the crunch and earnestness of Billy Bragg or The Levellers. All this bombast gets a little wearying after a while, though. [Sep 2015, p.83]

The Derbyshire trio bring a pleasing experimentalism to their second LP. [Aug 2015, p.75]

Though Abyss' quieter moments are plenty chilling,m Wolfe's brand of anguish best suceeds when she's out to do serious damage. [Sep 2015, p.83]

The formula remains potent. [Aug 2015, p.71]

[A] ravishing debut album. [Sep 2015, p.73]

The rich jangles of this fifth album [is] a notable career high. [Sep 2015, p.71]

Throughout All tense Now Lax the trio engage in a deep sensory confusion, with pieces appearing and then disappearing as though you're fleetingly tuning in on their wavelength, divining a moment from endless, shrouded recording sessions. [Sep 2015, p.76]

Challenging, sure--but when it comes together, as on Kenny Loggins-sampling "Your Choice," exhilarating also. [Sep 2015, p.80]

The production can sound derivative, but when Younge is on inspired form. [Sep 2015, p.75]

Atheist's Cornea fares best when shooting for extremes. [Sep 2015, p.73]

What could be esoteric electronica is lifted by Davis' creamy, often harmonised baritone voice. [Sep 2015, p.72]

Evening is appropriately darker and, for the first half, more ambient, with sublime, subtle vocals. Radiant stuff. [Sep 2015, p.73]

An enduring tenacity runs through Works For Tomorrow, one of the best and feistiest entries in their catalogue. [Sep 2015, p.73]

Jaunty and beholden to fuzz, White Reaper comes on like Kentucky's answer to Supergrass on this charming debut, crammed with short melodic powerpop gems. [Sep 2015, p.83]

They're at their best when they dial down the melodrama. [Sep 2015, p.77]

There are plenty of good ideas here, but plenty of bad ones, too. [Sep 2015, p.77]

[A] LP of sophisticated soul songs built around her exquisite vocals. [Sep 2015, p.76]

An instantly likable, energetic pop set stacked with guitars; his easy voice shot through with enquiry and regret. [Sep 2015, p.75]

Even on stopgap releases like this relatively repetitive mini-album, DeMarco's lysergic balladry and hangdog puppy love have an unbeatable effortlessness. [Sep 2015, p.72]

The Most Lamentable Tragedy feels like a quintessentially modern album, a scintillating examination of mania and neurosis that uses the history of rock'n'roll as mere stage dressing for its bravura performance. [Sep 2015, p.65]

Donovan's songs are still queerly wired, taking unexpected detours, blasting out into destructo-guitar solos, stomping T. Rex blues, and drenching acoustic guitar in slapback echo and ghostly vox. [Aug 2015, p.77]

Williams frustrates and delights in equal measure. [Aug 2015, p.83]

It works because Souleyman has never been a purist, instead perfecting a kind of global fusion that is slamming and mesmeric rather than naff. [Aug 2015, p.80]

There's not much here that departs from the blueprint Cobain establishment. Still, though, it's an undeniably exciting listen. [Aug 2015, p.80]

Four crisply recorded shows.... A super-funky artefact. [Aug 2015, p.94]

Time is squeezed and stretched in new ways, exotic timbres are distilled on the spot, and this freeform funk still scorches the air. [Aug 2015, p.91]

Perhaps inevitably, it's female voices that fare best. [Aug 2015, p.81]