What is basically an update on the kind of blissed-out composite at which Andrew Gold used to excel. [Apr 2019, p.29]

These are ageless, thrillingly energised devotionals for our secular and fast-moving times, full of euphonious noise and the dust kicked up by their deep-dug grooves. [Aug 2019, p.27]

It's part folk-rock fantasy, part avant-pop mind trip, and all gorgeous. [Aug 2019, p.32]

An album that reveals fresh layers on every listen. [Jul 2019, p.33]

It would be unfair to expect a "Whipping Post" from Devon Allman, Duane Betts and Berry Duane Oakley on their first outing, cut live to tape in Muscle Shoals, as they seek a comparable energy, but they manage to capably shoulder the responsibility rather than sinking under it weight. [Aug 2019, p.25]

Strongly evokes a member of Foo Fighters attempting a modern Americana album, and as such is largely a punky take on the stomping arena country of Brad Paisley. [Aug 2019, p.36]

Lars Andersson and Phillip Dornauer commit themselves wholeheartedly to epic objectives. [Aug 2019, p.32]

The 64-year-old artist time-travels to her formative years, bringing unexpected twists to 10 radio hits. [Aug 2019, p.31]

Their CSNY-meets-MGMT harmonies are as sun-dappled and warming as ever. But this is also their most skillfully diverse record yet. [Aug 2019, p.35]

They're on fine form with the hammered glam-boogie of "Eagle Birds" and the absurdly good-time "Lo/Hi," but underwhelm with the mid-tempo "Walk Across The Water and QOTSA-ish "Shine A Little Light." [Aug 2019, p.26]

A 4LP limited box adds a typically transcendent live set from Ann Arbor, mixing new tracks with retooled classics: a 19-minute take on "Tutankhamun" still feels far out. [Aug 2019, p.26]

Though Return To center has its campy moments, he's removed his tongue from his cheek. [Jul 2019, p.24]

It's hard to take it quite as seriously as it seems to take itself, although there are certainly stirring moments. [Aug 2019, p.32]

Generally excellent, sporadically sublime. [Aug 2019, p.39]

Daughters mixes history, fable and philosophical thought, with vocalist Horwood switching between euphoric and mournfully reflective. [Jul 2019, p.24]

The duo's lesser songs may not stray from a familiar pocket of retro-soul, but it's a very fine pocket nonetheless. [Jul 2019, p.24]

Jambu is the best starting point, a genuinely revelatory voyage through the mythic sounds of the Amazon. [Aug 2019, p.90]

It's a(nother) set of hushed, impressionistic tracks tapping the British folk tradition, digital psychedelia, Talk Talk and Japanese death poems. [Aug 2019, p.36]

Borrowing from the past for Bowie's "Heroes" doesnt't result in anything interesting, but Perry's deep, reverb-heavy vocal on Johnny Thunders' "You Can't Put Your Arms Around A Memory" is a perhaps surprising highlight. [Aug 2019, p.31]

Their voices just sound so good together. ... Maybe that's why this album ultimately sounds so generous and compassionate despite the many tensions it voices. [Jul 2019, p.35]

Mostly, though, youthful folk-rock tendencies are sacrificed for Wilco's mature Americana, as on "Only Dream Would Breathe," while additional late-Beatles flavours enhance "Barely Living Room," and "The Bottom Of It" adds hints of Jeff Lynne. [Jul 2019, p.27]

Brodsky shows himself to be a sensitive oil, shadowing Nadler's mournful keening with desolate country licks on "Dead West," or wreathing a straight-faced cover of Guns N Roses' "Estranged" in banks of dreamy fuzz. [Jun 2019, p.32]

Snaxx is more informal collection of sample-based miniatures that sound like the architectural blueprints for larger hip-hop epics. [Aug 2019, p.32]

While Pilbeam's gorgeous, dreamy melodies remain her main strength, a longer running time give her space to play with different ideas. [Jul 2019, p.29]

The best of Ride Me Back Home feels as much a companion to [2018 My Way] as to its predecessors in Nelson's trilogy of reckoning--there's a certain Sinatra-esque conspiratorial intimacy. [Aug 2019, p.37]

A rousing debut that constantly eschews genre conventions. As a result, the record manages the impressive juxtaposition of perpetual unfurling in unpredictable ways yet remaining tonally coherent. [Aug 2019, p.26]

Previous weighty concepts have been scrapped in favour of intense focus. [Jul 2019, p.37]

There's an effortlessly freewheeling quality to the 10 songs. [Jul 2019, p.34]