This new nine-track album catches the duo performing together in Europe during 2011 and clearly shows that despite their infrequent collaborations, they create a special telepathic musical synergy in each other's company. [Oct 2016, p.97]

A zippy half-hour's worth of inspired, unlikely juxtapositions and deftly perverse songcraft. [Oct 2016, p.96]

We Move is warm, slick and modernist. [Oct 2016, p.96]

A series of richly textured, ambient instrumentals from pedal steel guitar. [Oct 2016, p.92]

Bowles apples his clawhammer style to reverberating experiments. [Oct 2016, p.100]

The main deal here concerns a dozen new tracks, deliciously delivered in that soulful quaver of a voice. [Oct 2016, p.92]

Opening and closing tracks Begin and Oh Men are breezy, playful electro pop, but for the most Gordon creates a variety of grand soundscapes to which the singer adds gentle, disembodied vocals. [Oct 2016, p.99]

Michael Collins' latest sounds like a 21st century Ween--knowing pastiches of '70s Laurel Canyon, '60s jazz soundtracks and more, with guests. [Oct 2016, p.100]

A ton of fun, just like the old days. [Oct 2016, p.92]

The result is 11 dazzling, fabulously hooky pop-rockers. [Oct 2016, p.95]

Peaks on Joy Division-ish New Structures and the helter-skelter title track. [Oct 2016, p.100]

There’s little that disappoints here, even after Jack’s parting of ways with Meg to plot a solo course.

Fingers Crossed marks another welcome return. [Oct 2016, p.98]

By finally abandoning the pursuit of making alt-rock sound as pristine as possible, Twin Atlantic have actually struck upon something much more significant here: their identity. [Oct 2016, p.96]

The 12 songs are dilatant, vibrant. [Oct 2016, p.93]

A burbling concept piece with moments of poppy and demonic. [Oct 2016, p.100]

An astute writer whose lyrics--frank, observational, brutally self-aware--make her songs feel deceptively simple. [Oct 2016, p.100]

A third LP of warm, retro pop jangle. [Oct 2016, p.100]

Up close and uncompromising, Exodus Of Venus elevates Cook into the top echelon of Nashville's new breed, an all-too-rare female voice among a a largely make elite. [Oct 2016, p.95]

Funny, learned and poignant by turns, Foreverland is a masterfully-arranged, part-chamber-pop record underpinned by Hannon's natural playfulness. [Oct 2016, p.93]

Astronaut..., then, could be King Creosote's finest hour yet. [Oct 2016, p.93]

It's a hugely inventive slab of sonic theatre plotted to the tiniest detail. [Oct 2016, p.99]

Amnesty's dark, metallic electro-pop creates an overwhelming Strum Und Drang. [Oct 2016, p.99]

Packed with airhorns, grunts and slashing keys, its tempo shifts at will, a reminder of a singular talent. [Oct 2016, p.99]

Bayley's lyrics--inspired by fly-on-the-wall over-hearings--add depth. [Oct 2016, p.109]

Alone, the music feels like a too-long experiment, albeit punctuated by lovely songs. [Oct 2016, p.109]

An album full of inspired electronic melody and pastoral reflection culminating in the heartsore title track. [Oct 2016, p.100]

Heat haze indie pop with Brit post-punk lyrical realism in place of slacker zaniness. [Oct 2016, p.109]