It's undoubtedly a sad voice she presents on Reward, but one that is unlike anyone else's. [Jul 2019, p.107]

Fredo does little to soften the edges of his rough-cut persona for this solo debut album. [Mar 2019, p.115]

Staples's fire is undiminished. [Jul 2019, p.114]

From start to finish, an impressive piece of work. [Jul 2019, p.114]

It does thrillingly refine the group's electric explorations of numinous spaces both minuscule and gigantic. [Jul 2019, p.114]

A long and winding and faithfully atmospheric cover of Pink Floyd's Echoes that closes the album is perhaps the main attraction here, but too much of what precedes it tends to waft away into the ether. [Jul 2019, p.114]

Fever Breaks is sharp and lean. [Jul 2019, p.114]

These songs sparkle with a gentle joy, their warm softness as alluring as a swimming pool on a hot afternoon. [Jul 2019, p.109]

There are less arresting moments--the pensive The Silence In Between, for example--but they are the eye of an impressive electronic storm. [Jul 2019, p.110]

There are suggestions of better directions not taken. [Jul 2019, p.113]

Very much an album of two halves. [Jul 2019, p.113]

A beguiling, constantly surprising record. [Jul 2019, p.113]

There's enough deviation from Lowe's fastidiously tasteful norm to prevent YU descending into dullness. [Jul 2019, p.113]

Here they lean too heavily on space-age boogie-rock. [Jul 2019, p.110]

Though probably not the best place for the uninitiated to start exploring the work of this often brilliant and evocative musician, at the same time, songs such as the aching South rank up there with his best. [Jul 2019, p.110]

A true leap forward for an artist maybe only just coming into his own after 25 years. [Jul 2019, p.110]

Mostly their ebullient sixth LP is clever and kooky enough to be cherished on its own terms. [Jul 2019, p.110]

Too much feels half-baked. While the songs aren't without charm, they're torpedoed by Doherty's distracted, sloppy performance. [Jul 2019, p.109]

Throughout, Fields's gutsy vocals are utterly undimmed by age. [Jul 2019, p.109]

A fitting send-off. [Jul 2019, p.109]

While their third third album won't win any prizes for innovation, it's pumped full of the kind of GM-modified anthems expressly tooled for both sticky-floored clubs and gigantic arenas. [Jul 2019, p.109]

May be his most sad-eyed collection, but it's also his best yet. [Jul 2019, p.109]

PROTO sometimes hews close to well-worn dystopian tropes, and the child narrator and see-sawing breath sounds of Extreme Love are undeniably annoying. But Herndon's creative restlessness and textural mastery sustain interest across 45 minutes. [Jul 2019, p.108]

Ribbons feels almost like a homecoming. [Jul 2019, p.106]

A tripwire-taut production from pop magus Cam Blackwood ensures these bleak but brilliant punk confessions grip like a vice, even as you fear for Carter's mental health. [Jul 2019, p.106]

A record whose combination of chirpy choruses and sharp, dark lyricism is difficult to resist. [Jul 2019, p.106]

These songs might waver and stumble, but they still feel like a successful step forward. [Jul 2019, p.106]

[It takes a while] for the songs to emerge out of the mist. When they do, they stand among the band's best work. [Jul 2019, p.104]