Butler's spacey sing-song tones skip across the muddy off-kilter beats, forging a sound that is both immediate and moreish. [Aug 2017, p.110]

The result is a wildly primal and consistently brilliant rock'n'roll record. [Aug 2017, p.112]

Throughout, Crutchfield maintains a seething, triumphant line in catharsis that she channels into gruff college rock ad dreamy introspection. [Aug 2017, p.112]

Get Lost is a deliberate break with the woozy synths of his earlier work. The rest of the LP doesn't quite follow through n that adventurousness. [Aug 2017, p.112]

The album plays its best cards early. [Aug 2017, p.112]

There's a cheesy feel to many tracks but it's good fun, delivered with Chilli's soaring harmonies tempering T-Boz's throaty growl. [Aug 2017, p.112]

This lean, tightly structured follow-up ramps up the intensity. Built around raw, electronic productions, it also showcases his ability to rhyme with devastating candour over wildly varying beats. [Aug 2017, p.111]

Worthy of far more than 15 minutes of fame. [Aug 2017, p.110]

Butler's spacey sing-song tones skip across the muddy off-kilter beats, forging a sound that is both immediate and moreish. [Aug 2017, p.110]

Poignant and powerful. [Aug 2017, p.110]

This is guitar music at its most acerbic and romantic. [Aug 2017, p.110]

The first section bristles with churning intensity, but offers little in the way of surprises. The soundtrack, however, an unnerving sound collage, is far better. [Aug 2017, p.109]

The result is a return to the giddy highs of their heyday. [Aug 2017, p.107]

It doesn't hold back on the lysergic craziness. [Aug 2017, p.106]

It's a boring splodge on the pop landscape, so relentlessly samey and entitled. [Aug 2017, p.106]

Throughout, his control is masterful: spry on Make It Up, clarion and clipped on Grief Is Not Coming, familiar and uncanny all at once. [Aug 2017, p.105]

Earle isn't breaking any boundaries here, and he runs out of steam before the closing Goodbye Michelangelo, but he's doing what he does best--and that's better than most. [Aug 2017, p.105]

The intended fully immersive Sensurround experience eludes them, leaving just an occasionally diverting breeze. [Aug 2017, p.105]

They still sound a bit like a millennial Fleetwood Mac with a love of En Vogue--and they've retained a bit of sonic weirdness. [Aug 2017, p.104]

It's a glorious return; joyous, enraged and exciting. [Aug 2017, p.103]

We're All Alright! has admirably little truck with nostalgia. [Aug 2017, p.102]

Disarmingly intimate songs. [Aug 2017, p.102]

Even if some of the dizzying stylistic shifts will be familiar from his day job, the quirky, urbane character is all Baio. [Aug 2017, p.102]

Lorde's biggest achievement is retaining her emotional insight into herself and her generation despite her utterly transformed life. [Aug 2017, p.100]

Combined with massive hooks, flashes of Robyn and Rihanna, and drops that will give you chills, heartache has never been so much fun. [Jul 2017, p.109]

This remaster makes it glisten like the first time you heard it, while three unreleased tracks show that their vision didn't properly take shape until well into recording. [Aug 2017, p.113]

While The Singles offers a skewed perspective on their career, the real attraction lies in the rarity of some of the material, such as Turtles Have Short Legs. A must for diehards, then. [Aug 2017, p.113]

It's a musically diverse set of songs, drawing together folk, gospel, R&B, a collaboration with Kwabs, a cover of Elliott Smith's Twilight, and reintroducing Moore's remarkable voice. [Aug 2017, p.107]