Coates uses an eccentric blend of rich strings and muffled hardcore rhythms that are seductive, haunting and deliciously weird. [Oct 2018, p.87]

While the playful spirit and precise progressions of his previous albums linger, it's demonstrably darker entries that capture Gonzales's disarming craftsmanship best. [Oct 2018, p.91]

Its dense analogue assault envelopes you like a pea-souper. [Oct 2018, p.87]

It's more varied and interesting: angular, Cure-guitar shapes, echoing shapes. [Oct 2018, p.94]

He's still a whiz with a tart lyrical couplet, too. [Oct 2018, p.94]

Overall, Love, Loss, And Auto-Tuned is a deviant masterpiece. [Oct 2018, p.92]

Kingdoms In Colour is a bright, pan-global musical jaunt delivered as a glitter cannon explosion. [Oct 2018, p.87]

Driven along by a renewed sense of urgency and purpose, this may be Richard Thompson's most creative album in decades. [Oct 2018, p.92]

Monsters Exist feels like a stadium rave washing machine, stuck on infinite cycle. [Oct 2018, p.88]

Glenn Jones's repeated trips to the well of John Fahey's American Primitive legacy seem to yield even more refreshing results. [Sep 2018, p.90]

His commitment is palpable, the sequencing deft, and whole wilfully hit-free bombast-fest commendable, if scarcely palatable to anyone apart fro card-carrying Suede-heads. [Oct 2018, p.93]

Her lyrics draw you in, as she explores the chemistry of attraction on the title track to an appropriately sexy descending chord sequence, while a fly-by-night lover gets his comeuppance on Easy Street. [Oct 2018, p.84]

Material arcane yet relevant, as well as freshly minted. [Oct 2018, p.90]

Some of the vocal processing, though pushed to the extreme, will be a little familiar to Bon Iver fans/sceptics. Persevere, though, and yet more classic Low songs emerge from the post-apocalyptic murk. [Oct 2018, p.87]

Another inspirational triumph over adversity. [Oct 2018, p.90]

Every song puts a tap in your toe, a worm in your ear and a smile on your face. [Oct 2018, p.85]

Dissolution doesn't break character, but there's a sharper focus to the writing--and more sweeping melodies. [Sep 2018, p.88]

Every song is arranged beautiful but it feels like an accomplished assemblage rather than a living, breathing whole. [Oct 2018, p.85]

A soaring, feverish conflagration of sense and sensuality. [Sep 2018, p.90]

Their follow-up sees them crank everything up to the next level. [Sep 2018, p.94]

It's a tense, grace and often euphoric listening experience that simultaneously lacks the grit, drama and disquiet of their finest work. [Oct 2018, p.91]

A psychedelic soft rock treat that peaks with the uncanny, ethereal chord-changes of the sleep-walking Meet Me in The Air, but Poignancy, tunefulness and feeling abound throughout. [Sep 2018, p.94]

Negro Swan is more consolidation than the ext great leap forwards. [Oct 2018, p.91]

There's more to the differences between the two versions, however, than a valve amp versus the original's solid state, with over 30 years of musicianship and experience bringing the songs up to modern speed. [Sep 2018, p.92]

Songs feel shy of messing with the familiar. [Sep 2018, p.94]

Performance is White Denim's most produced album, thickly textured with brass, keyboards and studio atmospheres. Play it loud, though, and you easily imagine the euphoria at the bar after every track. [Sep 2018, p.84]

Beautiful songs studded with dissonant eruptions of noise. [Oct 2018, p.94]

A keeper. ... This is still a terrific entry point into a band who repay obsession. [Oct 2018, p.87]