O'Hagan has taken apart what he's known for and put it back together in an entirely fresh ways. [Jan 2020, p.89]

The result might be Orcutt's most beautiful album, a phantasmal union of folk, blues, rock and country visions that crackles with the intense fire of his own country's turbulent history. [Jan 2020, p.89]

A fitting culmination of the run that began with Old Ideas in 2012. [Jan 2020, p.88]

An album hitting some dead ends, as other avenues open up. [Jan 2020, p.88]

It's frustrating to hear them bringing so much to material that doesn't quite coalesce, it's something like listening to holograms of actual songs. [Jan 2020, p.85]

When harnessed, Taylor Hawkins' energy is the right stuff. [Jan 2020, p.85]

Though making the common mistake of over-investing in the frame of guitar and piano licks and bodging the big picture of the song, Ron Wood's tribute is not the worst in the world. [Jan 2020, p.84]

Matt Maltese's second album persists with velveteen schmaltzy AOR; like yacht rock on a budget. His graceful croon, though, is more jaded this time, combining with the hollowed-out production for a deluxe dose of remorse. [Jan 2020, p.84]

A poignant tribute. [Jan 2020, p.84]

13 evocative songs. [Jan 2020, p.84]

The combination of shimmering sonics and dislocated characters is what makes Hyperspace so holistic, and compelling. [Jan 2020, p.83]

A meditative, deliciously low-key collection produced by Lee Townsend. [Nov 2019, p.91]

Total fun for your brain. [Dec 2019, p.107]

A clutch of moving haikus. ... Knowing, experimental, hopeful, ironic, this could be Mary Margaret O'Hara--wringing your heart, engaging your brain. [Dec 2019, p.89]

Musicians writing and singing about being in the seventies is a rare thing in the Peter Pan world of rock--but The Who do it exceptionally well. [Dec 2019, p.92]

The songs about hurt, hardship but also hope are sung in raspy voices with sparse guitar and farming tools used as percussion. [Dec 2019, p.88]

The working drafts may have comprised a more direct, accessible album. But this monument to Clark's troubled masterpiece shows how deep and far he was willing to go to capture--and share--the salvation in a song. [Dec 2019, p.107]

No Treasure But Hope is further refinement of what they've been doing in the past. [Dec 2019, p.89]

An uncomfortable listen, especially the Big Star's Third-esque When I Think Of You, but also an album imbued with acceptance and dignity. [Nov 2019, p.93]

It's a challenging listen, but more exhilarating than pretentious. [Dec 2019, p.95]

Its instrumental first disc a foreboding seas of sputtering synths, dislocated drums and disorienting ideas. Yet rare moments of beauty peak through. ... A similar wilful primitivism pervades disc two. [Dec 2019, p.95]

It's really a nightmare world Oldham describes, but he cloaks it in tender beauty, slight-of-hand that remodels human failure into heartening endurance, a consoling story against the cold. [Dec 2019, p.88]

The Sisypheans is measured and reflective. [Dec 2019, p.91]

Beat-less but involving standouts like Memphis Helena, with its plangent lead line intimately tracked by Nelson's hushed hazy intoning, and elegiac, rippling acoustic guitar-propelled Muriel Spark are as inexorable and immersive as a high summer sunset. [Dec 2019, p.92]

It's a good album, but the standout track is just him alone on Beograd, a swirling big-room French house track, where he is beautifully lost in the beats. [Dec 2019, p.93]

Profligate, self-indulgent and, against all oddly, hugely satisfying. ... [The single-disc] Sampler Edition is a handy 58-minute entry point to the mad endeavour. [Dec 2019, p.90]

Girl Ray's metamorphosis is still ongoing, and that their true final form may resemble something darker and more substantial than Girl's neon reveries, diverting though they are. [Dec 2019, p.94]

His most complete artistic statement to date. [Dec 2019, p.93]