Though mostly a one-man affair, he covers a lot of ground across the album's 11 tracks. [Jun 2015, p.86]

Much of the rest is background music of a high standard and, although shorn of imagery and narrative, has an existential heaviness Camus would appreciate. [Jun 2015, p.86]

California Nights comes over like a dreamier take on Hole's Celebrity Skin or a souped-up. digitally-produced Go-Go's. [Jun 2015, p.86]

Far from electrifying. [Jun 2015, p.86]

Even amid its fluffy ornamentation, producer Tucker Martine spikes the players' innately epic capabilities with a puritan elixir. The rewards are considerable. [Jun 2015, p.84]

[A] dazzling modern dance album. [Jun 2015, p.94]

Sol Invictus scratches a creative itch created by the band's Second Coming Tour, and reasserts that they will not be second-guessed or pigeonholed. [Jun 2015, p.94]

This is his first tentative experimentation with some big band backing. [Jun 2015, p.96]

This successor has some Morricone moments, but is comparatively wan and blandly moderne. [Jun 2015, p.96]

Pulsing with youthful rebellion, PV sound wildly bacchanalian. [Jun 2015, p.96]

An engaging, yet still hip-swinging trip. [Jun 2015, p.96]

Their second album is a bittersweet indie-punk chaser. [Jun 2015, p.96]

A dense dream dialogue. [Jun 2015, p.96]

The Cree folkie in fine bellicose form at 74. [Jun 2015, p.96]

Super-barbed, electro-pub rock. [Jun 2015, p.96]

A modestly sized, nine-track snapshot of the singer in a more appealingly inward phase.

Cohen’s sound checks, as lengthy as the shows, where he’d experiment with old songs and try out new ones, were celebrated by insiders, and the three examples here are among the highlights: a remarkable Field Commander Cohen, like a four-and-a-half-minute operetta; a cover of George Jones’ Choices (gorgeous fiddle); and a new Cohen original, up-tempo blues Got A Little Secret.

There’s joyous invention at work here, along with nagging hooks which bury themselves deeper with every play.

A surprisingly stark yet passionate affair, with just enough unorthodoxy to suggest that a multilayered musician lurks at its roots. [May 2015, p.94]

His risk-taking is admirable but "abandon," perfect or other-wise, is not his optimum look. [May 2015, p.91]

Its 10 redemptive songs oscillating between Americana, baroque chamber balladry and unabashed pop. [May 2015, p.98]

It's a record that benefits from a pervasive electro-melancholia induced by quaking analogue synths, dulcet arpeggios and fragile vocals, recalling fraternal, dark electro-pop mavens Disclosure. [May 2015, p.97]

The sound Of Your Laughter and The Guessing Game are Get It On-style glitter boogies; by contrast Stay Now and All That Glitters reveal a more fragile side. [May 2015, p.92]

His sixth solo offering is a surprisingly mainstream jolly. [May 2015, p.97]

A genteel album, more for mellow reflection than dancing on ceilings. [May 2015, p.93]

Dark, minatory rhythms underpin stark lyrics telling of hard times in the north of Mali. [May 2015, p.95]

It's a huge step forward on their earlier recordings. [May 2015, p.95]

A polished affair, it cannot but fail to eschew their naive early '80s glory. [May 2015, p.100]