He has a weakness for think, hackneyed lyrics, but a flair for inspired juxtapositions, too. [Jul 2015, p.71]

What In Colour reveals is the sheer scope of Smith's skills as a songwriter and producer. [Jul 2015, p.68]

Introspective, diaristic songs that make a virtue of their simplicity. [Jul 2015, p.76]

Welch delivers clunky self-help lines wrapped in elemental metaphors. [Jul 2015, p.76]

It's often closer to the music the group made during their 2000 comeback. [Apr 2015, p.69]

The outcome is a raucous, rough-and-tumble blues-rock album. [Jun 2015, p.71]

This invigorating swansong by the Anglo-Italian duo finds Sam Willis and Alessio Natalizia bowing out at the peak of their powers. [May 2015, p.84]

Undeniably, they are a dance band first and foremost, but fans of Tinariwen will find plenty to love in raw soulful numbers like "Koana" and Farila." [Jun 2015, p.83]

Gelb's semi-surreal observations lace things together. [Jun 2015, p.77]

A record that achieves a great deal with only a few raw materials. [Jun 2015, p.73]

This one needed longer in the incubator. [Jun 2015, p.81]

[A] neoclassical treat. [May 2015, p.78]

Their debut takes SBB's percussive "Congotronics" sound and twists it into dramatic new shapes. [Jun 2015, p.78]

A Doug Sahm/CCR vibe runs through much of this debut. [Jun 2015, p.71]

The Word pick up where they left off on their 2001 self-titled debut. [Jun 2015, p.84]

There are many wise, deceptively simple insights on this wonderful album. [Jun 2015, p.82]

Containing only nine lithe and varied songs, Multi-Love is anything but a whimsical indulgence. [Jun 2015, p.79]

Produced by Bad Seed Jim Sclavunos, this latest project sees her moving away from the playful whimsy of her debut in favour of looser, gritter textures. [Jun 2015, p.75]

Mutilator is very much in the vein of a 2013's career-topping Floating Coffin. [Jun 2015, p.83]

The Superchunk frontman journeys to the early '80s, where punk was dissolving, songs were becoming introspective and straightforward rumble of rock was being corrupted by synthesisers. He does it with precision. [Jun 2015, p.78]

Runddans is 39 minutes of continuous music, most closely related tot he percolating grooves of Lindstrom's Where You Go I Go Too. [Jun 205, p.81]

It starts promisingly.... Elsewhere, sadly, The Traveling Kind is rather a plod. [Jun 2015, p.84]

Pleasantly surprising, then to hear Moonlust take a rather more delicate approach. [Jun 2015, p.76]

The evenness of the performances here is striking. [Jun 2015, p.74]

It's a savvy and sweetly skewed set. [Jun 2015, p.73]

Generally, Dumb Flesh is more gleaming and monolithic than ever. [Jun 2015, p.71]

It's a dynamically compelling set that taps Black Sabbath, Chic, Killing Joke, Elmer Bernstein and Paolo Conte, Mike Patton's extraordinary (six octaves) voice its focus. [Jun 2015, p.76]

The duo's third add little to territory explored by Broadcast and Sterolab, but there is still an alluring soft-porn sexiness to avant-Kraut Moog-pop excursions. [Jun 2015, p.75]