The result is an atmospheric sound, refined without losing its feisty, sometimes bitter vitality. [Sep 2014, p.98]

The bursts of industrial trash, though dexterous, feel superfluous. [Sep 2014, p.98]

He brings an easy empathy to these songs. [Sep 2014, p.96]

Jungle skillfully replicate the sexy patinas of their varied influence. [Sep 2014, p.94]

It's a more than worthy companion piece, with an unfinished, scrapbook feel that's far from unbecoming. [Sep 2014, p.94]

Restrained but emotionally compelling songs. [Sep 2014, p.93]

Jared Artaud and Brian MacFadyen pack a pummeling version of cultural vacancy, though they're a tad predictable. [Sep 2014, p.93]

While her David Lynch qualities remain, there's also something of the masochistic Lars Von Trier heroine in the resigned drowse of these songs. [Sep 2014, p.92]

There remains a mood off unease here, as if these transportive pop chants were also magic spells designed to awaken something ancient and terrible. [Sep 2014, p.90]

They are scarcely comparable to the original band versions with electric guitar blazing and in some cases Linda Thompson singing; but there's a certain magic in hearing these classics in such intimate form. [Sep 2014, p.88]

EX is a contemporary masterpiece. [Sep 2014, p.88]

Produced with Dave Fridmann and Joe Chiccarelli, the album benefits from the former's spacey soundscapes and the latter's commercial sensibility. [Sep 2014, p.96]

I'm Not Bossy, I'm The Boss is simply a remarkable collection of well-made songs. [Sep 2014, p.94]

It moves musical mountains with joyous funk, ecstatic hand-clappers, and fine redemption blues. [Sep 2014, p.95]

Charming and cherishable. [Sep 2014, p.94]

Gist Is feels like an urgent conversation,a record driven by compulsion; fortunately, tuning in to its internal dialogue is a pleasure. [Sep 2014, p.93]

LP1 is a hugely self-possessed debut, the work of an artist whose vision--not only her visual sense--is strong. [Sep 2014, p.89]

Get Hurt proves the balance between The Gaslight Anthem's Springsteenesque heroism and their punk fire is key to keeping them from tumbling into the trite. [Sep 2014, p.88]

In all, a deep treat almost on a par with Common's mid-'90s prime. [Sep 2014, p.88]

At its best, a healthily camp, good-spirited fusion on Abba and Blondie. [Sep 2014, p.98]

Alias perhaps lacks a truly killer song, a lightning rod to draw newbies in. [Sep 2014, p.94]

The concept here by Mac and co-producer/trombonist Sarah Morrow is terrific. [Sep 2014, p.88]

Musik, Die Schwer Zu Twerk's 30 minutes stand on their own despite nods to Flaming Lips' darker side and Linear Downfall's fascination with early King Crimson. [Sep 2014, p.91]

Dan and his cohorts craft an especially intimate and understated kind of English-born Americana that could easily hold its own in any late night session with the likes of Bill Callahan, Will Sheff or Tim Rutili. [Sep 2014, p.90]

Booker's unique sound is a taste worth acquiring. [Sep 2014, p.91]

This record [is] near the top of the band's bejewelled catalogue. [Sep 2014, p.92]

This is the sound of a big new beginning. [Sep 2014, p.92]

J's mature-era peak continues. [Sep 2014, p.90]