Thankfully Santigold has focused on quality, not quantity, as her third LP makes evident from the very start. [No. 128, p.61]

Honeyblood has plenty of possibilities, and a ton of potential. But it's also pretty darn potent already. [No. 111, p.55]

The result is a finely crafted collection of music that speaks volumes beyond its instrumental presentation. [No. 95, p.53]

This is a valiant and enjoyable varied attempt, by a seriously stacked cast of contributors. [No. 113, p.61]

Anyone who appreciated that combo's [OOIOO] giddy exuberance and arcane tunefulness will find plenty to like on this record's seven intricately arranged tracks. [No. 148, p.60]

It's a canny hybrid. [No. 95, p.53]

It's another creative leap for an artist who explores difficult human emotions with a bravery and intensity few singers ever approach. [No. 93, p.60]

This is particularly adept record-collector rock for the rest of us. [No. 95, p.54]

Things start strong, with some of Barnes' tightest tunes in ages. [No. 134, p.58]

[A] more muted follow-up [to 2014's The Way I'm Livin']. [No. 148, p.61]

This is a fresh, auspicious strike into new territory. [No. 114, p.61]

When's it on, which is most of the time, it's deep and beyond category. [No. 143, p.57]

It's a fascinating document, well worth a look from fans of any of the above [Offa Rex, Trembling Bells and Eliza's Carthy's Wayward Band]. [No. 145, p.61]

Its busy arrangements, brimming with the atomic energy of colliding guitars, synths, bass lines and drums, largely belong to no version of the band we know, instead a succession of growth markings scrawled in graphite. [No. 134, p.61]

A tasteful restraint envelops the album, continuing the musical maturation of both its performer and producer. [No. 111, p.61]

The album has more in common with the genre-bending and expectation-shattering records of Shelby Lynne and Sturgill Simpson. [No. 143, p.52]

Taylor is meditative in both sound and thought, using slow, simple arrangements in the service of a tender melancholy that grows more palpable as Await Barbarians floats along. [No. 111, p.61]

This third LP corrals sophomore sprawler Lenses Alien without killing its spirit. [No. 113, p.53]

The trio's execution is impressive, but the music is so tightly wound that it engenders a yearning for escape. [No. 128, p.61]

A suite-like meditation that is emotionally expressive and impressively nuanced.[No. 86, p.55]

The expansive instruments on this double LP lure you into a more relaxed aquatic experience. [No. 113, p.53]

Drums dance around the downbeat while acoustic guitars push the piece forward, proving these two can do subtlety, too. [No. 123, p.57]

What is by some distance the weirdest, wildest White we've yet encountered on record. [No. 150, p.60]

If it all sounds a bit vintage, at age 61, he's earned the right. [No. 126, p.61]

Come to it for the moody abstractions and impressionistic scene-setting. [No.112, p.60]

[Filled with] fine, subtle moments. [No. 85, p.54]

Occupied With the Unspoken plays as a chopped and staggered descendant of Fripp & Eno's Evening star, whose beauty is buried beneath a thicket of alien noises and reverb. [#89, p.54]

He's all over the phrasing but never sloppily and always expeessively. [No. 141, p.52]