It's a more than worthy companion piece, with an unfinished, scrapbook feel that's far from unbecoming. [Sep 2014, p.94]

Restrained but emotionally compelling songs. [Sep 2014, p.93]

Jared Artaud and Brian MacFadyen pack a pummeling version of cultural vacancy, though they're a tad predictable. [Sep 2014, p.93]

While her David Lynch qualities remain, there's also something of the masochistic Lars Von Trier heroine in the resigned drowse of these songs. [Sep 2014, p.92]

There remains a mood off unease here, as if these transportive pop chants were also magic spells designed to awaken something ancient and terrible. [Sep 2014, p.90]

They are scarcely comparable to the original band versions with electric guitar blazing and in some cases Linda Thompson singing; but there's a certain magic in hearing these classics in such intimate form. [Sep 2014, p.88]

EX is a contemporary masterpiece. [Sep 2014, p.88]

Produced with Dave Fridmann and Joe Chiccarelli, the album benefits from the former's spacey soundscapes and the latter's commercial sensibility. [Sep 2014, p.96]

I'm Not Bossy, I'm The Boss is simply a remarkable collection of well-made songs. [Sep 2014, p.94]

It moves musical mountains with joyous funk, ecstatic hand-clappers, and fine redemption blues. [Sep 2014, p.95]

Charming and cherishable. [Sep 2014, p.94]

Gist Is feels like an urgent conversation,a record driven by compulsion; fortunately, tuning in to its internal dialogue is a pleasure. [Sep 2014, p.93]

LP1 is a hugely self-possessed debut, the work of an artist whose vision--not only her visual sense--is strong. [Sep 2014, p.89]

Get Hurt proves the balance between The Gaslight Anthem's Springsteenesque heroism and their punk fire is key to keeping them from tumbling into the trite. [Sep 2014, p.88]

In all, a deep treat almost on a par with Common's mid-'90s prime. [Sep 2014, p.88]

At its best, a healthily camp, good-spirited fusion on Abba and Blondie. [Sep 2014, p.98]

Alias perhaps lacks a truly killer song, a lightning rod to draw newbies in. [Sep 2014, p.94]

The concept here by Mac and co-producer/trombonist Sarah Morrow is terrific. [Sep 2014, p.88]

Musik, Die Schwer Zu Twerk's 30 minutes stand on their own despite nods to Flaming Lips' darker side and Linear Downfall's fascination with early King Crimson. [Sep 2014, p.91]

Dan and his cohorts craft an especially intimate and understated kind of English-born Americana that could easily hold its own in any late night session with the likes of Bill Callahan, Will Sheff or Tim Rutili. [Sep 2014, p.90]

Booker's unique sound is a taste worth acquiring. [Sep 2014, p.91]

This record [is] near the top of the band's bejewelled catalogue. [Sep 2014, p.92]

This is the sound of a big new beginning. [Sep 2014, p.92]

J's mature-era peak continues. [Sep 2014, p.90]

The album has a clear, organic sound. [Sep 2014, p.90]

Those attuned to the harsh aspects of existence, who despair at the forces shaping the world, won't find any answers as such, but Angels & Devils' blend of fever dreams and corporeal nightmare articulates the confusion beautifully and brutally. [Sep 2014, p.86]

With musical modes brilliantly elevated by his occasional producer David Mansfield, Wainwright nails the exigencies of old age through the medium of rockabilly, the quest for parking spaces in Manhattan via cabaret klezmer, and the gloating joys of i-ding a faithless girlfriend dead in a deep freeze with cheery Vaudeville sing0along. [Aug 2014, p.90]

Brace yourself. This album is more clinging than quicksand, it is uncompromising, transcendent voodoo. [Sep 2014, p.92]