What drives each track home is the tight focus of the playing, riffs and ideas, each one the clockwork fuse on a ticking time bomb. [Oct 2015, p.60]

The cleaner production of Half Free ups the anxiety. [Oct 2015, p.58]

What makes this set so compelling is its mapping of the rapid shifts in Davis's music within shorter periods. [Oct 2015, p.68]

Excitement, sure, but little surprise. [Oct 2015, p.67]

The neo-soul influenced beats Jenkins raps and sings over often sounding submerged in a fog of reverb effects and filtration. Jenkins lyrics, too, are dense, containing their own murky depths, but his intense intelligence and formidable talent is never less than crystal clear. [Oct 2015, p.63]

The intelligence and emotions of the lyrics also capture the accidental complexities of the pop of yesteryear when light entertainment could find itself the place for heavy themes. [Oct 2015, p.60]

Production wise, [Have] You In Wilderness is a touch too diaphanous and gauzy, a few tracks in, you start craving something solid to hold on to amid the clouds of billowing strings.... It's a testament to Holter's songwriting ability that this doesn't fatally mar the album, but it would be appreciated if her future work demonstrated a greater sense of its own physicality. [Oct 2015, p.54]

A minor pleasure of the album is the beautiful way it's edited together, a gently manipulated impression of random accidents. [Sep 2015, p.47]

While King may not be quite as adept a riff craftman as his late partner, the headbanging intensity and shout-along choruses that have always marked their best material are still present. [Sep 2015, p.51]

If the Wu-Tang Clan's A Better Tomorrow was a shoddy attempt at cinematic audio in a Hollywood blockbuster sense, this is the arthouse variety show alternative with caricature Ghost as compere. [Sep 2015, p.57]

Those who lost interest after Tha Carter III may want to start paying attention again. [Sep 2015, p.57]

Their current incarnation has an almost puppyish energy and optimism which makes the album's 34-minutes seem even shorter and more repeatable. [Sep 2015, p.54]

St. Catherine departs from the lo-fi meditations of earlier releases to explore a fuller bodied sound environment where structures are tighter and colours less smeared. [Sep 2015, p.54]

Her latest iteration that limited palette of vintage machines feels trapped in the past; evocative but ossified. [Sep 2015, p.45]

The new sound is taut and spare.[Sep 2015, p.50]

The cumulative effect of these strange patchwork songs as in the end ambivalent. [Sep 2015, p.48]

The Light In You is palpably charged with love of music and gratitude for its redemptive powers. [Sep 2015, p.48]

One And Sixes brings a welcome edge... Unusually for Low, the lyrics are where One And Sixes falls down, frequently dealing less in acutely felt emotions than in questions and negotiations. [Sep 2015, p.47]

On occasion, stupidly fun. [Sep 2015, p.44]

Vol 1 collects the same tracks as the bonus disc from 2002's Luxe Reduxe reissue.... It's a little bizarre. [Aug 2015, p.67]

PC Music Volume 1 resembles the soundtrack to a posh private schooler's teen sleepover--glossy, giddy, sparkly and shallow. [Aug 2015, p.55]

This trio are rarely an ecstatic proposition, preferring the slow burn to the white flame, but in truth there's little heat here at all. [Aug 2015, p.54]

Risveglio seems keen to be accepted on its own terms rather than a simple curio. This it warrants, and rewards patient listening.

The new songs continue to hold the line narrative of the last few Yo La Tengo records without adding much new. But at moments when the performance is so assured, the hairs stand up and you're reminded anew of how the group got you to care. [Aug 2015, p.56]

His songs are still gauzy and intangible, the breathy vocals offering lyrical wisps that only hint at turbulent emotions. [Aug 2015, p.58]

At heart they're still most comfortable plying scruffy barstool romanticism woven from the same plaid as contemporaries The Replacements and Dinosaur Jr. [Aug 2015, p.58]

The set concentrates on one style and tends to accentuate the crossover aspects of its kinship with house and techno. [Aug 2015, p.55]

A range of compositional strategies are succinctly worked through, pivots in structural dynamics executed with an often startling sharpness. [Aug 2015, p.52]