Myth Of A Man doesn't feel like the whole story yet, but it's getting there. [Feb 2019, p.92]

There's still a lot of soul-searching at mournful tempos, but reconnecting to his roots has made for a fine set of songs. [Feb 2019, p.93]

Straightforward but elliptical; direct but enduringly rich; the unseen, in between. [Feb 2019, p.86]

Their initial torrid confluence of My Bloody Valentine and Joy Division here shapeshifts more towards "synth-assisted stadium nu-gaze," with odd Kraut-y hints of early Simple Minds, and frequent echoes of their new found patron: fune-real The Arbor is pure Disintegration, while shimmering Keep It All To Yourself has Kiss Me! Kiss Me! Kiss Me!'s hi-tech dazzle. [Feb 2019, p.88]

She's an adept songwriter and lyricist, but the album's immutable modern poo production can start to pale. [Feb 2019, p.93]

Remind Me Tomorrow feels full to the brim, flooded to the top with experimental colour and texture, drones and drums and synthesizers. [Feb 2019, p.85]

The whole thing is deeply marketable--but there's an authenticity in Rogers that needs more space to breathe. [Feb 2019, p.92]

More blood on the tracks might have upped the ante, but as it stands Tomb is still a gorgeous wallow, with producer Doveman's minimalist touches left to indicate cracks in the facade. [Feb 2019, p.84]

Their voices have contrasting timbres and they produce some gorgeous harmonies throughout. [Feb 2019, p.87]

[Tallies] inject sufficient Sunday/Cocteaus-ish vocal and melodic bounce to soften even the most calcified indie heart. [Feb 2019, p.93]

Boone's rich, Rickie Lee Jones-meets-Chrissie Hynde voice is the careworn bedrock upon which these bruised, dynamics-rich songs depend. [Feb 2019, p.92]

An equally intriguing mix of airy, modern indie pop, gauzy, gothic epic and plaintive folk-picking. [Feb 2019, p.93]

Why Hasn't Everything Already Disappeared? is more exploratory than Fading Frontier, but there's a minimalism that helps its stark ideas and sad-eyes melodies shine through. [Feb 2019, p.88]

Hubbert's ornate acoustic fingerpicking and flamenco flourishes are an ideal foil for Moffat's un-showy storytelling skills. [Jan 2019, p.92]

A potent psychedelic wash blurs the edges of these 10 tracks from trippy chimes to crackling static experimentation. [Feb 2019, p.93]

Focused, melancholy, modern ghost blues, these 10 rough-hued duets move from jeremiad to elegy, from love ballad to lament to scream. [Jan 2019, p.91]

Blend anarcho-punk speed rush with the paranoid crash of industrial rock--ticking programmed drums, frantic guitars, creepy crawl vocals. [Feb 2019, p.93]

She stands sonically naked, palettes limited and claustrophobic in their unrelenting mono-focus, in this fascinating but demanding debut. [Feb 2019, p.91]

The longueurs of the album's latter half rob the long-player of true classic potential, but the rehearsal room banter and stripped-back demos will pique fans' interest. [Jan 2019, p.105]

Rully Shabara and Wukir Suryadi call spirits from the soil with enough power to trouble the Richter scale. [Feb 2019, p.91]

We get to bask in the calm in the eye of Young's wilful hurricane without suffering the trail of destruction that followed it. An intensely enjoyable experience it is, too. [Feb 2019, p.99]

This likable debut peaks on Everything Apart's breezy kosmische shuffle, and Lennon-ish I'll Be Alright, but its airiness doesn't always work. [Feb 2019, p.93]

Throughout, a twinkly otherworldliness is counterbalanced by rhythmic excursions evoking the passage between one liminal world and another. [Feb 2019, p.92]

Tropical Fuck Storm's wonky rock discordance is not quite as provocative as they perhaps think. Nevertheless, there's still plenty to be enjoyed here. [Feb 2019, p.90]

Certainly, the music here is very often brilliant. ... .Paak's tendency for juvenile and preening bad-boy bluster is a recurring weakness. [Feb 2019, p.84]

FM! initially feels slighter, not least because of a brisk 22-minute duration. The breeziness is deceptive, though, as Staples and producer Kenny Beats construct a minimalist update of G-funk where the jams are always freighted with an awareness of potential violence. [Feb 2019, p;.84]

With an airy yet intimate mix from longtime engineer Bob Clearmountain, this 2-CD/4-LP package carries the requisite audio heft to compensate those who couldn't see Springsteen On Broadway in its natural habitat. [Feb 2019, p.82]

His best yet, a mix of reimagined trad pieces, diverse covers and elegantly rowdy new jams. [Nov 2018, p.89]