The album works better as [a] vehicle for Williams' fiery, lucid spiels and inventive productions than straight-up narrative. [Jun 2016, p.97]

Four albums in 18 months might induce a malaise within lesser bands, but King Gizzard's current purple patch peaks here. [Jun 2016, p.96]

The album's exemplary and diverse array of toothsome guitar sonics helps, but more crucial still is yer Hawks; oh-so-distinctive vocal harmony blend. [Jun 2016, p.96]

A chilly conference of Cold War atmospheres and modern kleptocratic dread. [Jun 2016, p.95]

It's a grand gesture of a record, though, and if at times it's a little too much, that's entirely in character. [Jun 2016, p.94]

None of these songs sound like they took too long to write or record, but her appeal lies in how, despite her off-the-cuff vibe, she often hits the bullseye or happens upon something enamouring. [Jun 2016, p.93]

Musically it is more diverse [than Gone Away Backward] and his literary influences are to the fore. [Jun 2016, p.91]

Morby has delivered largely run-of-the-mill roots rock, but Singing Saw is more measured. [Jun 2016, p.91]

An album of dark beauty and unnerving enchantment. [May 2016, p.93]

All told, it's a slight listen, which fails to stand alone from its parent project. [Jun 2016, p.93]

Though the record perhaps lacks the one killer tune or irresistibly "come hither" song title that can really get you at it, the swooning Pure Heart, intermittently cinematic We Were One, neat instrumental segue Fata Morgana and sonically startling So Many Nights help flag a unique and fruitful cocktail of influences. [Jun 2016, p.90]

The answers Wallumrod seeks may be out of reach but in the process of searching she has produced an album of disquieting power. [May 2016, p.90]

[An] Ubu-sinister psychedelic LP. [May 2016, p.96]

The sprawling opening (title) track commencing with familiarly tremulous, slow-motion synths inexorably rising and falling, oscillating between exquisite consonance and transient dissonance. [May 2016, p.94]

Sunnier than before, Malamore is a swirl of pounding drums, spoken French, baroque melodies. [May 2016, p.96]

His own voice is a marvel too, heartfelt and luminous. [Apr 2016, p.96]

This is the work of an artist who, seemingly despite himself, has turned into a major contender. [May 2016, p.93]

A sweetly-rendered set of originals. Sometimes, though, even if it drips with Nashville authenticity, it's all a bit too sugary. [May 2016, p.90]

Wintery Brit-folk closer New Year Of Grace is also special, a full-circle update on the steadfast, if weatherbeaten, live affair which the Opening track Gradually visits earlier in ts slow-burning voyage. [May 2016, p.89]

There's no white-hot creative explosion, just a gentle simmer. [May 2016, p.88]

Antitheses abound--organic and electronic, modern and ancient, pastoral and urban. Combined, they create something extraordinary. [May 2016, p.91]

Simpson invests this bold, widescreen music with such heartfelt and real pathos and joy that it announces him as a major talent, and makes A Sailor’s Guide To Earth so rewarding.

The best songs here--the loose, Blaxploitation soul groove Bones; the Cat Stevens-like Deeper And Deeper--are those on which Harper sounds most relaxed and contemplative. [May 2016, p.86]

There's a telepathic harmony to their nuggety pop chug. [May 2016, p.86]

The quiet simplicity of In The Light, Long Way From Home or piano-led My Eyes suggests a delicacy within the songwriting pair of Jeremiah Fraites and Wesley Schultz that will prove far more satisfying in the long run than any future Top 10 Success. [May 2016, p.88]

Chromatics fans will fine much to love, but the eeriness that made Carpenter's reputation is mostly lacking because he doesn't need to soundtrack a shock or its aftermath. [May 2016, p.89]

The former High Llama may be low, but this is no menopausal weepy. [Apr 2016, p.96]

Overblown and cloying, it destroys any early promise by way of total saccharine overdose. [May 2016, p.86]