The opening tracks' motorik rhythms--all Juno-G keyboards and Roland bass--suggest an M1 retread of Autobahn undone by the spectre of sleep, but later tracks like the howling Pennine drones of A Non-Place imply a final destination far from the shoulder; somewhere overgrown, primitive and ancient. [Jan 2013, p.100]

Every one [of the songs are] a solid treasure. [Jul 2013, p.92]

Their ability to create spellbinding instrumentals that blend high-calibre jazz improvisation with accessible melodies is evidenced by the wonderfully serene Reunion and the more febrile Finding Neamo. [Jul 2013, p.94]

A poetic, typically untethered set within bouzouki pecks and mellotron complement Roy's latest voyage into open-tuned land. [Oct 2013, p.90]

Niagara is a remarkable debut. [Nov 2014, p.93]

The Oakland outfit grasp the slippery concept of time with philosophical relish and an abundance of psychotropic imagery on this conceptual sixth album. [Dec 2014, p.93]

An exhilarating step beyond [the 2005 and 2007] albums' late-'60s foundations. [Feb 2015, p.93]

A Fool To Care has scarcely a weak note. [May 2015, p.90]

Fatima's Hand is like the titular middle eastern amulet, a thing of intricate protective beauty. [May 2015, p.97]

A record with a beauty and sense of emotional elevation to match the place where it was made. [Aug 2015, p.92]

Shirley Inspired and Unheard Songs both bear rich testament to the fact that posterity is barely getting started in these two. [Jul 2015, p.88]

Evocative songs of Cornish coastal contemplation. [Sep 2015, p.95]

More spacious acoustic currents entwine to create softer, calming reveries every bit as difficult to resist. [Jul 2015, p.90]

The gorgeous harmonies of Fran Foote add further engagement on a set rich in attitude and uncompromising intent. [Nov 2015, p.91]

For Use And Delight is by turns plaintive and rocking, a wistful rhythmic journey into a band's true beating heart. [Nov 2015, p.90]

Mehldau is never bereft of imagination, using his source material as a vehicle for sublime musical storytelling that results in some of the most beautiful piano playing you'll ever hear. [Dec 2015, p.87]

The deliciously daft Litter Love, all skronky synth and cavernous twang guitar, Stoltz comes on like The Wombles' nemesis--and dishes enough pop suss to brighten Mike Batt's eyes. Fans of Kelley's wonky back-pages gem You're Out Of This World will also lap-up Wobbly. [Dec 2015, p.89]

On The Move sounds like music made with drinks in hand and wide smiles on faces. [Feb 2016, p.95]

Collaboratively, spiritually and musically... it works superbly. [Mar 2016, p.99]

Lovers of their earlier electro-cumbia won't be disappointed, but nor will reggae fans or Garifuna aficionados. [Mar 2016, p.98]

Wintry, ethereal and strangely bewitching, it feels both ancient and modern, rooted in the raw Appalachian landscape of Leigh's childhood and the contemporary language of confessional memoir. [Apr 2016, p.91]

It began with 2013's minimalist Blindspot, harrowing on lost love; moved into 2014's Distance, trying to accept things; and here's reflection. [Jun 2016, p.94]

Blending bossa with trip-hop and samba with vintage synths, she creates an entirely contemporary blend. [Jul 2016, p.91]

Sublime stuff. [Jul 2016, p.92]

Ghost Stations is blithesome evidence of Marconi Union expanding on their ambient/downtempo tag. [Sep 2016, p.93]

His singing has improved beyond recognition and, while rooted very much in the vintage storytelling values of the folk tradition, Upcetera is very much a landmark album for our times. [Dec 2016, p.95]

From the moment she opens her mouth here: her gargley vocal, set to fortissimo, summons dusty trails, rattling trains and late-night boozing. [Jan 2017, p.99]

Black Star Riders have delivered a record befitting their pedigree. [Mar 2017, p.94]