Away is a looser and more poignant than the band's previous releases ever hinted. [Oct 2016, p.95]

The results, like a digestible Oneohtrix Point Never, are gloriously sweet natured. [Sep 2016, p.93]

Olsen never gives into indulgence, however, her songs keeping their shape, their direction and their impact to the end. [Sep 2016, p.90]

It’s a beguiling, meandering sprawl that rewards total immersion.

Total Depravity strives to add something new to the mix but Andrews' habitual preoccupations keep The Veils from moving forward. [Sep 2016, p.96]

A multifaceted diamond that moves his gentle vocals between musical dark corners and soaring expanses. [Sep 2016, p.99]

Parrots invoke a woozy, enthralling chaos that's imbued with a golden, sun-blushed charm. [Sep 2016, p.99]

Opposite House and It are his most Succinct and affecting work since the near-perfect Wit's End, the album that Mangy Love now replaces as his finest. [Sep 2016, p.98]

Ghost Stations is blithesome evidence of Marconi Union expanding on their ambient/downtempo tag. [Sep 2016, p.93]

The 22-track vinyl's an ace place for newcomers to get electrified. [Sep 2016, p.107]

His voice is parched, so the songs, many acoustic and trailing brutal honesty, speak clearly enough to grip you in their gnarled fist. [Sep 2016, p.98]

A much more emotionally spooked record than either of its MOR predecessors. [Sep 2016, p.97]

It's an appropriately trying listen, far removed from 2010's relatively mannered debut. [Sep 2016, p.92]

Almost exclusively orchestral, this soundtrack works brilliantly as a half-hour suite. [Sep 2016, p.90]

A powerful intoxicant rather than just another retro genre exercise. [Sep 2016, p.92]

The on-stage versions bring genuine human warmth--healing even--to Vulnicura's raw emotional truths. [Sep 2016, p.99]

This joyous, head-spinning dash to beyond the end of the yellow brick road audaciously fuses the chamber chorale, folk, the theatrical and torch song to create an album which could soundtrack a cabaret hosted by the Wizard of Oz himself. [Sep 2016, p.98]

[Producer Bach shaped] fragmentary song ideas into sprawling, free-flowing arrangements that nod to Mark Hollis, Tim Buckley and Jim O'Rourke. [Sep 2016, p.90]

Thee oh Sees have never done ‘Thee oh Sees’ quite as well as they do here, a riot of lucid cacophony, androgyny, glowing vignettes of loveliness, and two drummers caught in the most sublime lockstep.

The whole shebang is a lovely thing to bring back to Real World, the label that first signed Arthur back in 1997. [Aug 2016, p.96]

Rattle's haunting weird-pop stands out like ghosts in the daytime. Spread over an album, truthfully, it's a trying listen. [Sep 2016, p.93]

They explore the tricksy time signatures and artful insouciance of Deerhoof or Tortoise with aplomb. [Sep 2016, p.99]

The Uzi/Live Skull/Come veteran conveys the therapeutic power of bleak yet lovely music. [Sep 2016, p.99]

Absolute Truth rights the ship with enough whistling milkman melodies to sink the Titanic. [Sep 2016, p.95]

And the Anonymous Nobody is another stroke of inventive brilliance from ever-humble, non-showboating masters of the long-playing arts. [Sep 2016, p.92]

Resistance to its charms is futile. [Sep 2016, p.93]

25 25's monomaniacal quest for the ultimate groove occasionally leaves the listener behind. [Sep 2016, p.96]

[A] polished second set by the Swedish '70s-inspired blues-psych outfit. [Sep 2016, p.99]