The Darkness have regained much of the joy, silliness and virtuostic songcraft that made their 2003 debut Permission To Land such fun. [Nov 2017, p.96]

Although still rooted in rockabilly terra firma, with cameos from the likes of Nashville groovester Aaron Lee Tasjan, McPherson's horizon has never sounded so open. [Nov 2017, p.102]

Part 2 wins with the garage-guitar-pop of Hollywood and the hard edged though sugary Teflon. In keeping with Brix's own memoir, Part 2 suggests that pasts remain unpurged. [Nov 2017, p.100]

Her pearlescent, Joni Mitchell-style voice and feel are the clearest yet. [Nov 2017, p.101]

The upbeat rockers certainly pull no punches. ... Better still, some gentler tunes reveal his more vulnerable side. [Nov 2017, p.95]

Almond has certainly never sounded better as a singer than on this, largely a collection of covers of often obscure source material. [Nov 2017, p.102]

The material and performances here are uniformly strong, affirming that Wright is now a recording artist of significant stature. [Nov 2017, p.98]

All 12 songs have a warmth and, often as not, a jangle and sweet harmonies. [Nov 2017, p.100]

An often winning fusion of power-pop, electronics and blue-eyed soul. [Nov 2017, p.103]

A collection of judiciously orchestrated, densely textured tracks that often demand accompanying visuals. [Nov 2017, p.94]

[Weatherall] indulges in more motorik rhythms, frazzled post-rock and glam rock beats. [Nov 2017, p.103]

Only the tart Princely funk of Boyfriend lets light through lacquered layers of modern pop production. [Nov 2017, p.103]

The insistent, even patient, rhythms that propel most songs on Wolf Parade's fourth album are some measure of hope. They suggest there's someplace the synth-rock band is trying to get, and that there is some place worth reaching. [Nov 2017, p.96]

The ’70s resonate within the 10 exquisitely crafted tracks.

The overall effect is affecting and exhausting, the listener feeling queasy and spent. [Nov 2017, p.96]

These 11 songs never let the beats-per-minute lag, and this--coupled with the easy abundance of melody with which our host continues to leaven his left-field power pop--makes for some deliciously easy listening. [Oct 2017, p.91]

Producers Ron Anielo and Matthew Koma stick to the formula. And it's not enough. [Oct 2017, p.94]

It has a head, a tail and a massive great beating heart. [Nov 2017, p.92]

Hallelujah Anyhow needs a shade more definition to cut through the reassuring vintage fug. [Nov 2017, p.94]

L.A. Witch is brief, ultra-basic, not particularly varied and all the better for it. [Nov 2017, p.97]

Gregg's vocal technique was remarkably intact despite his illness, as was his trademark ability to convey love, honesty, anguish. [Nov 2017, p.97]

It wouldn't be a Ray Wylie album without an anthem and the title track is a good one. [Nov 2017, p.97]

Not an easy listen, but admirable. [Nov 2017, p.97]

His third album in as many years, while not among his most consequential, proves that, at 71, Morrison can still perform with gusto. [Nov 2017, p.98]

If Three Futures lack depth, then, it's only because everything inside has been dragged out, up to the surface, into the light. [Nov 2017, p.98]

Like all of Numan's greatest work, Savage sounds timeless. [Nov 2017, p.100]

Amadou & Mariam have created a thought-provoking time capsule for future historians; a genuine masterpiece documenting the Malian unrest that is poignant, passionate, and directed equally at the head, feet and heart. [Nov 2017, p.101]

Barbed but beautiful. [Nov 2017, p.103]