If it all seems a little too familiar, the hooks here are undeniable. [Apr 2015, p.76]

A kaleidoscopic trawl through formative memories, cascading with melody and intimate reminiscence. [Apr 2015, p.83]

It's honest and immediate, but predictable. [Apr 2015, p.73]

Courtney Barnett has managed to expand her lyrical preoccupations and musical interests outwards and upwards, while still retaining the magic of her past peak. [Apr 2015, p.68]

For all the ideas and juxtapositions that illuminate these songs, none feel jarring or tokenistic. [Apr 2015, p.79]

The result is unmistakeably LB. [Apr 2015, p.78]

Out of the pain and anger, Moorer has fashioned the finest album of her career. [Apr 2015, p.80]

Ambarchi and O'Rourke bed their extended compositions down in richer tones, with glassing electronic hums and roiling organs moving on shifting sands. [Apr 2015, p.71]

His eighth solo album will no doubt satisfy dedicated fans, but for those lulled into inattentiveness somewhere along the way, Tracker also makes an excellent case for re-engagement. [Apr 2015, p.70]

A hugely accomplished and banging debut LP. [Apr 2015, p.76]

Eskmo's sweet, pop-toned vocals add an unexpected element to his expression of the sublime, although he lets his club-floor impulse rip on "The Sun IS A Drum." [Mar 2015, p.76]

Michael Nyman's elegant, pulsing scores are evoked on "Requiem" and "Black Madonna," while "Coat Of Arms," with soft vocals and mournful oboe, moves with quiet dignity. [Apr 2015, p.72]

Its glowering landscape is reminiscent of Actress' Ghettoville, but without a similar supporting mythology Pearson Sound can feel rather cold. [Apr 2015, p.81]

This set combines recordings from a number of indie EPs, and while the ensemble always combines a bemused, tongue-in-cheek quality with a rock'n'roll fanatic's mindset, Dungeon Golds spinning out smart, graceful pop hooks and hard, Dukes-Of-Stratosphear-type psych--gazes hard at mortality. [Apr 2015, p.80]

Spaces Everywhere has arch, but craft aplenty. [Apr 2015, p.80]

Marling's fifth takes vast steps forward musically, as ever. It's more defiant and distinct than anything she's done before. [Apr 2015, p.74]

The tautly controlled power of the performances meshes with the barely harness emotion of Ban Gibbard's impeccably sculpted, tortured lyrics. [Apr 2015, p.73]

A gorgeous confection. [Mar 2015, p.77]

A heavy trip indeed. [Apr 2015, p.71]

It takes some skill to make these sentimental songs sound this effortless. [Apr 2015, p.77]

It is a more energetic, and in places darker, record than its predecessor. [Apr 2015, p.82]

It's strong but uneven. [Apr 2015, p.71]

The departure of bassist Alanna McArdle to front Welsh noiseniks Joanna Gruesome doesn't seem to have dented the band's bruised vitality and pleasing lyrical spikiness. [Apr 2015, p.75]

Far greater than the sum of it's parts, Vulnicura can be a challenge but, once immersed, it's hard to tear yourself away. [Apr 2015, p.85]

The dream-logic mixing is a strength, where folk songs from Adele Diane and Songs Of Green Pheasant tumble to the forefront, but most tracks are limp, effete and boring. [Mar 2015, p.84]

While After lacks the appealing chaos of predecessor Ripely Pin, it compensates with bright choruses that contrast with a dark, decaying lyrical scheme. [Apr 2015, p.78]

A ramshackle, frequently over-the-top barrage of familiar rock tropes appropriated in the service of an unmitigated romp. [Apr 2015, p.72]

Spedding's ever-luscious quiff a measure of his stylish, if eternally backdated MO. [Mar 2015, p.83]