With several songs appearing twice covered by different acts, the malleability and strength of The Midnight Organ Fight material is clear. [Aug 2019, p.88]

It's a globe-trotting celebration of jerky, angular tempos. [Jul 2019, p.86]

Sauser-Monnig spins a gorgeously spare, frail web, as if she and instrumental allies Nick Sanborn and Phil Cook only pressed record as dawn was breaking. [Jul 2019, p.95]

Expertly sequenced as a narrative of lethargy, collapse and recovery, Purple Mountains is ultimately an album about return. It is the sound of David Berman coming back from the cold and converting it to a welcoming, lyrical warmth. ... Prepare to be taken in. [Aug 2019, p.86]

The result is the right step forwards at the right momement. [Aug 2019, p.96]

There is quiet drama here--especially on the gothic crawl of Spiders or Home's extended inner-space walk--but sometimes The Soft Cavalry struggle to project it beyond their own moody boundaries, or to find that extra charge. [Aug 2019, p.92]

It's an unlikely explosion of X-Ray Spex, The Raincoats, Oliver Mtukudzi and Stella Chiweshe, but it's a winning one. [Aug 2019, p.97]

Although the assured songs are beautifully framed by sparkling arrangements, To Each His Own suggests--as BNQT had too--Pulido is sidelining what might be more rewarding for listeners: getting on with Midlake to help realise his musical vision in a less obvious manner. [Apr 2019, p.91]

The Brilliance of I Was Real is visceral rather than intellectual. It lies in how 75 Dollar Bill locate the possibilities of transformation and release, of physical and spiritual abandon, in border-destroying party music. [Aug 2019, p.94]

Mulcahy is a heavy-duty Randy Newman for our times. [Jul 2019, p.95]

If these tracks often sound like bejewelled, undiscovered relics then much of that is down to the tough musical palimpsest on which Bratten worked. [Aug 2019, p.93]

Visionary, exhausting, Dusk To Dawn is an extraordinary experience. [Jun 2019, p.95]

Field recordings of Alphine birds are used for restraint. ... Yet each of the hour-long album's eight interlinked pieces is a distinct entity, and still a song as such. [Aug 2019, p.92]

While not completely immunised against country cliche--I Thought You'd Never Leave has the audacity to reference a pick-up truck--his songwriting is what strikes hardest. [Aug 2019, p.95]

Kicks is an up-and-down affair but Rickie Lee Jones remains pleasingly unpredictable. [Jul 2019, p.88]

There's no doubt these are expertly constructed songs, but it feels as if the emotional wiring h as been botched. ... Let's Rock lacks the connection to be truly electrifying. [Aug 2019, p.89]

Over nine more filmic songs, a quaint magic unfolds. [Aug 2019, p.93]

Featuring chamber music, operatic art singing, spoken word, drum circles and horns and woodwinds ecstatically blowing--all outside-time examples of the group's motto: "Great Black Music, Ancient too the Future." [Aug 2019, p.95]

A joyously spiky yet danceable debut. [Aug 2019, p.90]

Jambu captures Belem's delirious party spirit in full swing. [Aug 2019, p.108]

It's a wonderful listen, and the joy in creation that is obvious in these 15 tracks, is nearly enough to wipe out the sadness of his loss. Nearly. [Aug 2019, p.102]

Slick and melodic but more Placebo than Pumpkins. [Aug 2019, p.98]

Ringgo Ancheta continues on a liquid ambient-funk, gliding across a set of between album one-offs and remixes. [Aug 2019, p.98]

A few missteps, but horn-pumped soul-rocker Love Again is a happy return for the Jersey Shore prince. [Aug 2019, p.98]

Opener Habub Faye is a lovely slice of sophisticated pop, as are the rootsier Macoumba and Ay Coono La. ... Yet there is still space for two absolute clunkers. [Aug 2019, p.97]

His violin-led handiwork dazzles and swoons more than ever. [Aug 2019, p.96]

If aging has robbed the 86-year-old of anything, it's not audible here. [Aug 2019, p.96]

An inspired makeover that only serves to complement Weaver's past achievements. [Aug 2019, p.93]