It's a beautifully recorded and unmistakably classy outing that resonates deeply. [Feb 2018, p.95]

The set includes some tender spots, but dire wins the day. Thankfully, it's on occasion leavened. [Feb 2018, p.94]

A promising diversity of ideas, tempo and riffs. [Feb 2018, p.97]

If the band have upped the musical chaos, there's still an unashamedly romantic feel. [Feb 2018, p.98]

Catchy, undemanding, irksome. [Feb 2018, p.99]

Jaguwar don't reinvent the wheel, but their propulsive guitar rock intricacies bring all the right deep-sonic thrills. [Feb 2018, p.99]

Before long, these initially detached settings establish a magnetic, narcotic allure, filled with elliptical hooks and images. [Feb 2018, p.97]

Snares feels more like No Age's greatest hits than their fifth album. [Feb 2018, p.95]

They've grown and blossomed without sacrificing an ounce of what made them exciting in the first place. [Feb 2018, p.93]

As a heady whole, Mother is a cousin of '60s American boundary pushers Kaleidoscope and, especially George Romanos, whose 1970s album Two Small Blue Horses defined a new Greek psychedelia. Mother is that good. [Feb 2018, p.95]

Leeds quintet serve up sonic catnip for post-punk nerks. [Dec 2017, p.96]

A noteworthy comeback. [Feb 2018, p.94]

Languid, warm, West Coast psych set. [Oct 2017, p.98]

There is pain here. The results, though, are delicious. [Feb 2018, p.97]

An album that welds together sedate ambient techno and grand Radiophonic Workshop-style analogue experimentation. [Jan 2018, p.96]

Warm and full of feeling, an LP as instinctively cosmic as it is epic. [Feb 2018, p.99]

The instrumental smorgasbord can feel a little claustrophobic, as on the clattering All The Way Live, but overall The Go! Team's relentless party vibe emerges undiminished. [Feb 2018, p.96]

It's as much fun as it needs to be--as it should be. Reflective, restless, fiercely engaged, it feels like it's in constant process of rethinking and remodeling, slicing off bits of musical flesh and slapping them back on elsewhere as it dips and bounces along the street. [Feb 2018, p.94]

There's no escaping Steen's brutal vision, guitarists Eddie Green and Sean Coyle-Smith and Edge-like chimes to Concrete's verses, before the terrace chorus tilts the mood back to belligerent. No Brit band is better equipped to set 2018 alight. [Feb 2018, p.91]

Simultaneously soaring and depthless, soothing and unnerving, solemn and joyful, McPhee's excursions feel weird, unknowable, as if the path we're on is both bright and labyrinthine, a certain route to the unknown. [Feb 2018, p.94]

Closure, and then some. [Jan 2017, p.101]

Mind-expanding stuff. [May 2017, p.106]

An intriguing, undeniable gem. [Dec 2017, p.92]

Here, his eloquent trumpet is framed by musical backdrops that range from noir-esque alt-rock to ambient soundscapes and jittery hip-hop beats. [Feb 2018, p.93]

The 35-track odyssey serpentines on an exotic carpet of plangent electric and acoustic guitar sounds through whimsical, sub-Basement Tapes Americana, languorous, Grateful Dead-like psych-folk and hallucinogenic, Lennon-esque-pop. [Jan 2018, p.92]

This feels like Hermansen's most charming and wide-ranging collection yet. [Jan 2018, p.96]

A journey, then, one exploring the psyche of a man and his relationship with the world. [Jan 2018, p.90]

Soulful, questioning, and the perfect introduction to Smith's unique, illuminative jazz. [Feb 2018, p.99]