On subsequent listens how little else there is going on becomes perversely thrilling, especially in the car. [Jan 2018, p.91]

This is a hugely enjoyable landmark release. [Jan 2018, p.103]

Heartrendingly eerie. [Jan 2018, p.91]

Swarming with rich atmospherics, it's a wee-small-hours treasure trove for fans of Blue Nile, Scott Walker or Bill Callahan. [Jan 2018, p.90]

It's exquisite ghostly piano and hypnotic loops transport you to a gauzy, fantastical netherworld. [Jan 2018, p.96]

Reflection Of Youth swoops through grandiose, visceral and skeletal arrangements (producer-engineer Nick Rayner is a revelation): Full-tilt rock on I Wanna Dance; warped folk bleeding into orchestrated glitch on Christine; steely, shivery ballad Survived. [Jan 2018, p.96]

These are gallingly sad, often crudely simple folk songs, interlaced with menace, though her assertions of agency are just as bracing as the dark parts. [Jan 2018, p.105]

His stark solo work--with an amplified wood board for footstompin'--remains the stuff that'll Hook ya. [Jan 2018, p.102]

A debut solo album of such synth-streaked electronic sleaze and shimmer that it kicks Goldfrapp and Gary Numan into the bleachers. [Jan 2018, p.90]

Tempting to ask for more of this dark night of the soul. [Jan 2018, p.94]

A feast of sonic juxtapositions, whimsical beats and massed vocal harmonies. [Jan 2018, p.94]

While his alienated, laissez-faire flow disguises sly pop sensibilities on the smoked-out, funereal-paced Red Bottom Sky and Silver Arrows, it's bare-bones lament Agony that sums up his charm. [Jan 2018, p.94]

At just 23 minutes long this stop-gap album, but it's great to hear the fire in his belly once more. [Jan 2018, p.94]

Polwart conveys contrasting themes of tragedy, redemption, hope and homecoming with immensely affecting guile. [Jan 2018, p.93]

Blau exercises an instrumental vision to rival his studio and vocal nous. [Jan 2018, p.90]

Utopia feels like a diversion, not a destination. A nice place to visit--beautiful, even--but you wouldn't want to live there. [Jan 2018, p.89]

U2's strongest album this century. [Jan 2018, p.86]

Though some things never change, the Serge Gainsbourg-like instrumental Interlude (Wednesday Part 1) and electro-pop winners It's A Beautiful World and She Taught Me How To Fly are invigorating departures. [Dec 2017, p.90]

[Devoldere's] disaffected drawl and seedier impulses are curbed by co-singer/melodic foil Sylvie Kreusch. [Dec 2017, p.96]

A thorough pre-history, ending just before the release of first studio album, Everything Falls Apart. [Dec 2017, p.104]

The live disc's souped-up version of Drive notwithstanding, what comes across is that AFTP is at heart a sublime collection of folks songs. ... A winning package. [Dec 2017, p.103]

If you like Serge's music, or Jane Birkin's, their daughter's latest is a laudable addition to the canon. [Dec 2017, p.89]

Affecting and shot-through with tension. [Dec 2017, p.92]

Fringe entertainment, for sure, but top fun. [Dec 2017, p.87]

Te brushed drums, vintage electronics and hushed vocals on Memory Of a Cut Off Head play like they were recorded in a bunker under siege. [Dec 2017, p.94]

The ballads confirm that she was singing better than ever. [Dec 2017, p.88]

An album that opens full of tension, riot and discord--before the acoustic gospel of Peaceful Dream leads into strong pleas for universal love and understand and quests for personal redemption. [Dec 2017, p.94]

Their eighth long-player feels leaner, nastier, equally impressive [as 2014's Time to Die]. [Dec 2017, p.91]