As always, with such projects, Goddess flies or falls on what these collaborators bring to the table, but the material here is as strong as it is varied. [Jul 2025, p.84]

Like all tribute albums it's a mixed bag. [Jul 2025, p.92]

This may be the best album of their 50-plus years together. Bonkers, yes, but quite brilliant. [Jul 2025, p.84]

Breathless, and breathtaking. [Jul 2025, p.86]

Talkin To The Trees is one of these simple pleasures, a port in the storm in these troubled times. [Jul 2025, p.83]

A dense, cosmic country, limber astro-funk and psychedelic pop record, it might be KGATLW's finest to date. [Jul 2025, p.80]

What might be Morrison's best album since 1991’s Hymns To The Silence. [Jul 2025, p.88]

Eno has rarely sounded so luminous and wistful, evoking alongside Wolfe a desert sunset that makes you excited to be alive but sad to have only so long left. [Jul 2025, p.83]

An album that, in the best sense of the term, is all over the place. [Jul 2025, p.84]

Death Mask makes for a visceral, at time abrasive listen. [Jul 2025, p.85]

Where Ribot's electric guitar commands attention on other records, this acoustic picking is languid and warm, lending the album the intimate intensity of a midnight conversation. [Jul 2025, p.78]

Her finest work yet. [Jul 2025, p.79]

More is that rarest of reunion records: one that transcends nostalgia to actually enhance a band’s legacy. [Jul 2025, p.74]

There's gentle humour to take the edge off but this is haunting, impossible beauty. [Jul 2025, p.80]

2 is a special new chapter, inspired and beguiling. [Jul 2025, p.79]

While there are shades of Berninger’s day band in the propulsive Nowhere Special, for the most part it’s a more laid-back affair in the stylistic vein of R.E.M.’s Automatic For The People, or a country-tinged The Blue Nile. [Jul 2025, p.86]

There's a newfound earnestness and openness to caroline's songcraft. [Jul 2025, p.78]

There’s always been a debt to The Beatles percolating around within Segall’s vast discography: a certain elegant way with a tune, a Lennonish rasp, that’s suggested he could make a more straightforward album, with a little more appeal beyond the garage rock illuminati. Possession is essentially that record, one where his Beatlesy nous aligns to a sort of strutting glam-baroque, without losing the dynamism that made Segall’s scrappier projects such fun. [Jul 2025, p.82]

This is the band taking stock, creating a record that has a bleak, sonically rich beauty. [Jul 2025, p.88]

We get bouquets as well as barbed-wire. [Jul 2025, p.84]

As ever it's the small details they alight upon which resonate. [Jul 2025, p.79]

It's a perfect mix of expertise and lightness of touch. [Jul 2025, p.87]

All in all, it underlines that These New Puritans remains a band apart. [Jul 2025, p.84]

This is a record that more frequently speaks and embodies the language of connection, of entwining and union, the clash between hard-edged politics and the beautiful fractals of their music less stringently juxtaposed than in earlier work. [Jul 2025, p.76]

It's all high drama, dark figures and wild impulses - hugely entertaining, but when Muphy sings "this is the meaning of my life", you don't doubt it for a second. [Jun 2025, p.86]

Altogether, with added depth and melody, it’s Maries’ best yet. [Jun 2025, p.88]

Aside from Jump Out's nightmare car ride ("Cell phone's dead, neighborhood is dark/what's the plan now?"), even the occasional rockers aim for atmosphere rather than combustion, yet Furman's trademark anger and angst find a way through. [Jun 2025, p.85]

These 11 songs brim with images of armed men, noxious air and entitled egotists, intermingled with notions of self-liberation and community solidarity. But the sonics too often seem stuck in Garbus's past. [Jul 2025, p.83]