The duo's valiant attempt to circumvent the buzz-kill of pre-meditation can only take them so far, however, and Arthur Buck is not without the odd dud. [Jul 2018, p.89]

It's when Marr stops thinking "big festival rock sound" that this LP shines. ... Ultimately, it's all about the angle of his jangle--ever unimpeachable. [Jul 2018, p.88]

The album has its own voice. [Jul 2018, p.95]

Throughout, she oozes charisma, sophistication and soul. [Jul 2018, p.92]

There are enough off-kilter moments to stop complacency setting in. [Jul 2018, p.90]

This is a sumptuous and personal record capturing universal human themes of hope, fortitude and loss. [Jul 2018, p.95]

The most fun comes, unsurprisingly, on the funkier first side. [Jul 2018, p.93]

It takes awhile to get some traction on these unassuming songs. But once inside it is a strange and enticing world. [Jul 2018, p.95]

So joyful, so tender, so warmly anthemic, its vintage moves are timeless, and irresistible. [Jul 2018, p.89]

Well-crafted third from the south London art pop duo with a playful spirit to match their impeccable post-punk influences. [Jul 2018, p.98]

Heavy with atmosphere, Dream House doesn't disappoint, corralling their genius for cerebral house chicanery, subtle techno and motorik rhythms. [Jul 2018, p.95]

Ultimately, the record triumphs via Rolling Blackouts; deep inhabitation of their music, ans the space of its creation. [Jul 2018, p.92]

Bold emotional directness supplanting gobby perpetual-teen 'tude on a set of soulful urban pop. [Jul 2018, p.98]

This second volume maintains the high standard. [Jul 2018, p.104]

The most striking thing about Listening To Pictures is how effortlessly contemporary it sounds. [Jul 2018, p.94]

A record out of time, and, in terms of quality, out of this world. [Jul 2018, p.91]

It's all imbued with such unhinged energy and genre-skipping abandon that Warmduscher collectively concoct some weird pop voodoo, perhaps best heard on the swampy bastard blues of the title track. [Jul 2018, p.96]

Nothing is off limits, the entire artistic palette is there to be used. And Diawara exploits that uniqueness with aplomb. [Jun 2018, p.92]

Muscular adaptations of Stephen Stills' How Far and Parliament's Get On Out Of The Rain stray into '70s Who territory, with stirring arrangements and hot Townshend licks, while his courageous tilt at Nick Cave piano ballad Into My Arms roils with heartache that can;t be faked. [Jun 2018, p.89]

This collaboration was always going to produce something sonically elegant. Accordingly, this six-song cycle is built around a drone, its individual tracks manifesting as if in curls of smoke. [Jul 2018, p.93]

Frequently overwhelming yet unconventionally comforting, there's a bebop-style envelope-pushing at work. [Jul 2018, p.95]

Babelsberg is, without doubt, one of the finest expressions so far of Rhys's talent. [Jul 2018, p.90]

A somewhat arid listening experience. [Jul 2018, p.104]

The Future and the Past is a triumph, a coming-of-age that over-delivers on all Prass promised, and suggests limitless skies in answer to where she might go next. [Jul 2018, p.86]

Images both earthy and heavenly make repeated showings, but case's vexing concern is troubled humans. [Jul 2018, p.88]

Eight songs that drift and haunt with layered voice and moody strings. [Jun 2018, p.97]

[The E Street Band] are barely present. Despite the sterile production, it's a vivid portrayal of personal torment, with great songs. ... Human Touch and Lucky Town make sense: the work of a man focused on changing nappies or seeing his therapist. ... In Concert/MTV Plugged confirms, the sacred texts were better served by E Street's idiosyncrasies. [Jul 2018, p.105]

An off-the-mark stab at Nebraska-era Bruce Springsteen vocals casting a grim shadow over what was a slow burning lament. Thankfully, Wildness's remaining portfolio is stuffed with hooky but soul-bruised cuts. [Jul 2018, p.96]