Wrong Crowd may still be driven by piano but it charts a new path for Odell. [#361, p.106]

Her lyrics are folk-like in that they seem ancient yet new, delivered by a voice that's both angelic and sharp as a whip-crack. [#361, p.112]

Ridha's focus here isn't on beauty but the beats. [Jul 2016, p.104]

Reassuringly, life is good once more. [#361, p.107]

A song cycle that ruminates on his condition and travails to an orch-pop soundtrack of piano, strings and voice. [#361, p.111]

It's an enjoyable debut, but a few more surprises like [a saxophone solo in Who Are You] would've helped mix things up. [#361, p.115]

The results are spellbinding. [#361, p.111]

They still know their way around a pretty tune, though, and they still understand the value of smart sweetness. [#361, p.112]

The mix is full of voices, all snipped up in fragments or rendered as blurred tones. The results lends his exquisite productions a haunting emotional resonance. [#361, p.115]

Though resolutely glum, their debut is alluring in its foggy melancholia. [#361, p.111]

There's an air around The Exodus Suite of something not quite being finished. [#361, p.114]

The narrow emotional and musical range suggests Kygo doesn't have unexplored depths, but he doesn't need them. [#361, p.111]

It's remarkably poised, perfectly calibrated vocal swells evoking the synthetic English pastoral of XTC or Julia Holter's experimental layering. [#361, p.112]

Comically, the group never actually met while recording it. Imagine what they could do in the same room. [#361, p.112]

Perfectly balanced, 2011's So Beautiful Or So What was a triumph, which Stranger To Stranger continues. [#361, p.115]

Konnichiwa is not just hit-packed, but almost flawless. [#361, p.115]

A catalogue of enjoyable sun-drenched rock'n'roll, if you don't listen too closely to the words. [#361, p.116]

An exquisitely warm, olde-worlde soup in which to bathe one's auditory senses. [#361, p.116]

While Vance's pipes are impressive--a mix of Van Morrison and John Fogerty--it's his lyrical googlies that hook you in. [#361, p.116]

This is the sound of a band hitting their stride, albeit belatedly. [#361, p.116]

There's a calculation to much of what's on offer here that undercuts all the other advancements. [#361, p.116]

Anyone who's ever loved a record by Midlake or the Fleet Foxes should investigate immediately. [#361, p.117]

[A] wonderful album of covers showcasing his mastery of pianistic romance, witticism and flourish. [#361, p.116]

Ash & Ice isn't really a reinvention but it does triumph as a bold restatement of just what makes The Kills unique. [#361, p.109]

This one feels more grounded, less frantic and, despite that constant pulsing movement, more at home. [#361, p.109]

Not a straightforward journey, then, but still a rewarding one. [#361, p.108]

He resurfaes as a country-tinged singer-songwriter of poise and substance. [#361, p.108]

Its gorgeous chamber-pop is painted from a muted colour palette, with Farfisa organs, Hollies/Mamas harmonies and lyrics about weeping willows and late afternoons. [#361, p.108]