Her beautifully compassionate songs are cradled in gentle, melodic arrangements from ever-inventive producer John Vanderslice. [Aug 2015, p.94]

One of the most surprising ambient albums of the year. [Aug 2015, p.95]

Knockin' Boots shuttles between classic disco, '80s electro soul, Gallic House tropes and stripped-down future funk with significant aplomb. [Aug 2015, p.88]

Instrumentals pretty much picks up where FSA left off. [Aug 2015, p.95]

Minimal, murky, magnificent. [Aug 2015, p.96]

Something More Than Free is as close as he's yet come [to a classic album]. [Aug 2015, p.92]

A little gem. [Jul 2015, p.89]

The material is, if anything, stronger than its predecessor and at times exquisitely beautiful. [Aug 2015, p.93]

Vocally she delivers, Southern fried and passionate. But the songs, ever diverse, lack shape. [Aug 2015, p.98]

Recent electric songs mix well with country ballads. [Aug 2015, p.98]

Rolo Tomassi are best when varying the textures. [Aug 2015, p.96]

Much of the remainder, however, plays a depressingly straight bat with mainstream thrills. [Aug 2015, p.96]

This is terrific, 90-minutes of ice-quaking noise, jet-engine feedback, histrionic metal screaming, Gothic doom and ambient euphoria that feels simultaneously ecstatic and terrifying. [Aug 2015, p.95]

Untethered Moon leaves no doubt these guys are on fine form again. [Aug 2015, p.95]

Time Flies is a similarly lovely creation, but with this surface gloss also comes a lack of depth and a slight cheesiness to the whole affair. [Aug 2015, p.94]

A welcome return to the comfort zone of their first two releases after the dreary mid-tempo rock of 2013's Stories Don't End. [Aug 2015, p.93]

It's brevity, meanwhile, ensures this sweetly, powerful group don't wear out their welcome. [Aug 2015, p.93]

It's astonishing how, despite his 32 instrumental credits and 20 guests, it still sounds dustbowl-empty, as if these were missives from The Great Depression, time-wise and spiritually. [Aug 2015, p.93]

A quirky collision of funk, pop, blues, Bowie-esque rock and electro, it'll perturb traditional soul fans--some of his cross-genre experimentation is weirdly unsettling--but there are several ear-catching gems. [Aug 2015, p.92]

His innate genius for transforming base building blocks into rhythmically compelling, humanist dance gold shines through. [Aug 2015, p.89]

Aching, poetically quotidian observations permeate Universal Themes. [Aug 2015, p.89]

This feels like production line Muse: big riffs, bass squelches, conspiratorial dialogue, but few new ideas. [Aug 2015, p.88]

Moonbuilding 2703 AD proves that his space academy can still churn our excellent results. [Aug 2015, p.88]

The melodies are sunny, but Red Kite glimpses the brilliant glare of summer through a morning fog which stubbornly refuses to clear. [Aug 2015, p.94]

It finds Glasper trying to maintain the interest of his new audience by putting a trio spin on neo-soul material as well as songs by Joni Mitchell and Radiohead. [Aug 2015, p.91]

There are some beauties here. [Aug 2015, p.91]

A typically finely crafted slice of emotionally raw storytelling with an absolute peach if a guitar solo. [Aug 2015, p.93]

A record with a beauty and sense of emotional elevation to match the place where it was made. [Aug 2015, p.92]