This is all very impressive stuff. [Feb 2015, p.80]

Throughout, their balance of the tense and clanging with the urgently poppy is impeccable. [Feb 2015, p.76]

What A Terrible World continues to sharpen the band's sound. [Feb 2015, p.81]

Girls In Peacetime Want To Dance feels like a creative rebirth for a band who were beginning to feel like nothing more than the day job. [Feb 2015, p.70]

He's the kind of singer whose voice you instinctively trust. It's a resource that brings continuity to a fifth album touching on greed, death and dogs. [Feb 2015, p.72]

Producer Joe Henry's tribute to that album, 1964's Bitter Tears, reimagines it beautifully. [Nov 2014, p.83]

Mark Nevers, on production, ensures Singer's grave is the lushest Oldham LP since Beware, and "So Far And Here We Are" is a stinging all-new effort. Motives, though, remain even less clear than usual. [Nov 2014, p.71]

While the fuzz-filled punk vibe is still present and correct, there's also a hard rock thread running through Overdrive. [May 2014, p.80]

Lament is a startling, eclectic listen. [Jan 2014, p.72]

Slim Twig's louche theatricality will probably repel as many listeners as it attracts, but life is a cabaret, old chum. [Jan 2015, p.92]

This fine reissue includes remarkably fully formed demos of the entire LP. [Dec 2014, p.89]

The resultant 37-minute piece is atypical of wither band's work, aiming for something more freeform. And meandering.... Still, when it hinges together, Words absolves itself. [Dec 2014, p.80]

While nothing on this best-of collection quite matches the exquisiteness of Grant's solo work, you can still hear him testing the waters and laying the groundwork for what was to come. [Jan 2015, p.87]

An amusing curio, although you're unlikely to listen to it more than once. [Jan 2015, p.75]

They channel their power into free form excursions of an often surprising delicacy. [Jan 2015, p.75]

Magazine 13 flits between Art OF Noise preset chintz, serene Vangelis miniatures and serrated Knife-like techno primitivism with such aplomb that it's tempting to view this as either a very good inside joke or striking outsider art. [Jan 2015, p.67]

The results are by turns atmospheric, deeply odd, funky and wistful, but never less than superb. [Nov 2014, p.84]

Chubbed Up+ feels like a bit of a stopgap between this year's Divide And Exit and a new album scheduled for early next year, but it nonetheless has much to recommend it. [Jan 2015, p.92]

It's a culture manifest in Alpha Mike Foxtrot: encyclopaedic. loving, droll, emotionally candid, often adventurous, but never really as alienating or difficult as the legends might suggest. [Jan 2015, p.90]

It's a giddily emotive affair, primarily slow and sensual. [Jan 2015, p.86]

This four-CD box demonstrates Bedhead to be a band incapable of missteps. [Jan 2015, p.86]

Dripping with raw emotion, Tim Wheeler's solo debut is a moving memorial to his father George. [Jan 2015, p.79]

It's all very polite and reserved. [Jan 2015, p.79]

Rhythm is even more thrilling than the latter's recent Nikki Nack. [Jan 2015, p.78]

Those who like a little light and humour in their rock--or, indeed, an acknowledgement of the last 25 years of popular music--may find themselves unmoved. [Jan 2015, p.78]

Highlights dim somewhat, though, with the earnest and/or bombastic originals on the album's second half. [Jan 2015, p.78]

The crystalline sweetness of Jones' voice belies the dark melancholy that underpins songs such as "Sad Kid" and "Nobody Dies." [Jan 2015, p.78]

The Inevitable End is a bittersweet triumph. [Jan 2015, p.76]