It's the lesser-spotted Mike D and Chan Marshall aka cat Power who snag this troublesomely titled fourth album's crowning moment. [Jul 2016, p.92]

As confident a second statement as you could wish for, full of strong melodies, affecting lyrics, sharp playing, immense arrangements and sympathetic production. [Jun 2016, p.86]

Each piece worms in and stays there. Brice has enhanced the voices of others for too long. Now, her own needs to be heard. [Jul 2016, p.91]

Blood Moon seems like Craft's real start, and one of the most exquisite soul-searching odysseys of this or any year. [Jul 2016, p.93]

The result is confusing, as with any roots artist messing with synths and beats. Even so, when he doing his familiar stark, keening vocal and raw country-blues thing and sentimental lighters-aloft pop, he's still deeply impressive. [Jul 2016, p.92]

These tracks chose to morph and mutate rather than petrify in any sense. [Jul 2016, p.92]

It's audacious, experimental and, unsurprisingly, resists literal interpretation. [Jul 2016, p.94]

Just a tad more quirkiness would be welcome. [Jul 2016, p.92]

This compelling, enlightening aural history gives [lesser-known artists] a worthy platform. [Jun 2016, p.102]

Several of the songs on River are, aptly, long and meandering, passing the ears in a liquid, ungraspable way. You can drift away on it. [Jun 2016, p.104]

Featuring a previously recorded vocal by Davy Jones, who died in 2012, it’s a match for any of their ’60s hit 45s. It also features all four Monkees, the only song of the 13 here to do so. The remainder, penned by the group, musician fans and long time cohorts, feature Tork, Dolenz and Nesmith and for the most part recapture the enchantment of the original group.

Much of Why Are You OK may be lush and beautiful, but there are too many rambling tracks to put it up with Bridwell's best. [Jul 2016, p.95]

Less of a musical therapy session, more of a celebration. [Jul 2016, p.91]

Malody might be uneasy listening but it's as brave as it is completely unexpected. [Jul 2016, p.90]

The 52-minute suite was mostly recorded live, as Ray vamps, beautifully as always, through shivery glades of country blues, girl-group drama and Link Wray throb: this time around, she dwells at the shadowy end of the street, with less room for levity. [Jul 2016, p.93]

Genders' decision to forsake his husky tones for a forthright falsetto immediately adds an unsettling nuance to Throws' twisting tales and burrowing melodies. [Jul 2016, p.93]

This is real chase-the-devil-out revival with Reed's cut-throat scream and bluesy guitar playing pinned to an anything-goes-in-the-name-of-the-spirit backbeat. [Jul 2016, p.90]

Producer Joe Henry complements Toussaint with respectful production and respected guests including Charles Lloyd, Van Dyke Parks and the thrilling trilling of Rhiannon Giddens. [Jul 2016, p.94]

So really, Let The Record Show is a game of two halves, a little jumbled up perhaps, but one in which Rowland ultimately triumphs. [Jun 2016, p.90]

For all its grace and subtlety, this is a vigorous, life-affirming record. [Jul 2016, p.90]

Here they are, refreshed and refocused if not exactly reinvented. [Jul 2016, p.90]

The results are highly accomplished and consistently gorgeous. [Jul 2016, p.92]

With Sing to the Moon, Laura Mvula set a new standard for 21st century soul. With this follow-up, she's raised that standard higher. [Jul 2016, p.89]

It's only when Lennon takes over that the collaboration really works. [Jul 2016, p.94]

Simon's new music sounds inventive, surprising and catchy to boot. [Jul 2016, p.94]

Pierced Arrow's 10 tracks range from strutting, power-chord anthems and barroom boogies to riff-driven shuffles. [Jun 2016, p.91]

Stitched together with a number of spoken word excerpts from the likes of neo-shaman Terence McKenna, it's music rooted in the early UK rave scene. [May 2016, p.91]

Its music whose provenance is the dance floor, but steeped in emotional warmth. [Jul 2016, p.95]