This whole album is a desert rock classic. [Oct 2019, p.82]

If not quite a match for Gainsbourg's ticklish masterpiece, it's a partial return to the stringy artistry of 2003's Friends Of Mine. [Oct 2019, p.83]

Meditative Time (You Got Me) sets the pace: a gently rambling rumination twinkling with congas, shakers and bird-like flutes. [Oct 2019, p.92]

Free, in a good way, resembles his more esoteric work from that time, such as 1999's brooding Avenue B. [Oct 2019, p.88]

Rubberband sounds too much like jazz's great disrupter chasing black-radio approval via The Human League. ... Rubberband is not a Great Lost Miles Davis Album. But it has a lot of great Miles Davis on it. [Oct 2019, p.101]

The LP's title might suggest the randomised poetry of google translate, but Low Probability Of A Hug speaks a language everyone can understand. [Oct 2019, p.85]

It's pleasant but ultimately inessential stuff. Way better are the tunes where the tape echo effects kick in. [Oct 2019, p.82]

There is humour to the harsh, spangly electropop of tracks like Feel For You and Vampires, but in places the concept is a little too arch and pumped up, sounding like a teen Netflix drama. [Oct 2019, p.82]

Her queasy, pitch-shifting sound aligns with labelmate Flying Lotus's high-end head music. [Sep 2019, p.96]

An ass-shaking blend of disco, house, '80s pop with apparent self-awareness. [Oct 2019, p.92]

Malone draws the listener into the unique interior timbre of the pipe organ, like the idling breath of a large machine at rest; a music of worship, where the object of spiritual veneration is the inner space of the instrument itself. [Oct 2019, p.89]

There's a cosmic/romantic wisdom to highlight One Way Or Another and Two Dreamers' sunshine classicism. [Sep 2019, p.96]

Crow sounds wholly at ease, but for all the vocal variety Stevie Nicks, James Taylor and a rueful Vince Gill bring, she doesn't sound wholly inspired. [Oct 2019, p.89]

While there's a suspicion that the album format isn't their natural habitat - only the melancholic shuffle of (Vi-Vi) Vicious Games veers away from the acid template - the sinewy, skeletal intensity here has a creeping allure. [Oct 2019, p.90]

The S.L.P. might be a one-off, but right here, right now, he sounds liberated. [Oct 2019, p.85]

Forever Turned Around tows the if-it-ain't broke line, a choice justified by nuggets such as My Life Alone and Before I Know It. [Oct 2019, p.89]

The moving Electric Shock incorporates joyous synths and Headcase is berserk thrash-pop brilliance. Dizzying closer, Mortals, meanwhile, might have been a Top 10 hit in the early '80s. [Oct 2019, p.86]

This album engages out minds while it explores, but as it raises questions, it still comforts. [Sep 2019, p.92]

Any agitation on Katherine Paul's second LP is gently expressed. [Oct 2019, p.92]

Tucker has created an album that should endear her to those who still raise the outlaw flag while also appealing to hard-edged pop-tinged rock believers. [Oct 2019, p.83]

There's social critique and black humour in spades, though the blanket-warm harmonies often smother The Rails' tougher messages. But if you want comfort in trying times, wrap up here. [Sep 2019, p.90]

Once again Tucker demonstrates his knack of creating simple, incantatory, almost folky vocal lines, which pivot around a few telling chord changes and lodge in the memory long after the music stops. [Sep 2019, p.91]

Twelve Nudes' unbridled howl, mania and joy is on the nose. [Sep 2019, p.95]

How To Live is more of a creative evolution than a total break from Cooper's previous music. [Sep 2019, p.88]

Their needling attack punctures fevered egos on There's No One Like You, and cooks up some pleasingly wonky acid-rock, but best of the bunch is the closing flourish When Do I Get To Sing "My Way." [Sep 2019, p.88]

There is sweetness--Shuffling Stoned's hyperfocused vignette; the title track's mystical George Harrison drone--but August feels like the product of a wandering mind deliberately slipping through the cracks. [Sep 2019, p.89]

This is a different sounding Billy Childish. Not Radically different, but enough to notice that something's going on. At the root is personal tragedy: he had a nervous breakdown last year, and lyrics, written more like prose than punk missive, deal with mortality and the passing of time. [Sep 2019, p.88]

This is a sweet entry point. [Oct 2019, p.92]