Notably louder than Hersh's other solo records, if it evokes anything else in her canon it's throwing Muses' furious, fabulous 1992 album Red Heaven, "Loud Mouth" and "LAX" being especially elemental eruptions. [Nov 2018, p.30]

The record plods along nicely but often drifts into forgetful or nostalgic territory, with the fuzzed-up growl of the guitars recalling the bygone mid-90s indie-rock boom. [Nov 2018, p.37]

Kikagaku Moyo sound more assured than ever on this fourth album. [Nov 2018, p.32]

Animal Companionship is a more sombre affair than it initially sounds as Ashworth uses animal love as a lens through which to dissect heartbreak and loss, broken lives and creeping morality. [Nov 2018, p.23]

Butler performs the same job that Trevor Horn did with Belle & Sebastian--adding a widescreen pop ambition to McIntyre's flinty personal tales. [Nov 2018, p.34]

Remastering these original recordings not only unmoors these songs from that particular era in rock history but also sharpens the band's attack and showcases each player's contribution to Adam's House cat's unruly sound. [Nov 2018, p.45]

The best parts of An American Treasure are the snapshots of a less self-straitened Petty. [Nov 2018, p.48]

["Around The Horn"] inflates over a final few minutes into something uniquely epic. ... Lyrically, it's pretty baffling where "These Rocks," one of the albums' standout tracks, is the most openly confessional song Houck has written, set to a churchy musical swell, congregational and healing, the sound of a lifetime burden lifted by love. [Nov 2018, p.28]

It's an invitation to peer into the hidden spaces of an extraordinary modern songwriter, where calm and quiet moments prompt superlative work. [Nov 2018, p.32]

The set has both strength and a lean, lustrous beauty. [Nov 2018, p.26]

The routine comparisons with Terry Riley/Steve Reich/Michael Nyman all apply, but there's something more mystical and elemental at work, too, with echoes of the Third Ear Band and Comus. [Oct 2018, p.27]

Haunting late-career contemplation. [Nov 2018, p.37]

There's variety like never before: bludgeoning tech-punk, disco beats and Screamadelica-era Primal Scream eruptions. That it exists is exhausting; that it works is extraordinary. [Nov 2018, p.29]

The Norwegian band's seventh album evokes the storms and swells of mid-period Bad Seeds and Crime & The City Solution. [Oct 2018, p.23]

The lyrical content from MCs B-Real and Sen Dog is fairly rote, but a widened sonic palette keep things interesting. [Nov 2018, p.27]

She achieves something close to eerie synthesis of avant-classical art song and Throbbing Gristle-worthy brutalism that three-quarters of TG themselves created on their 2012 tribute to Nico's Desertshore. [Nov 2018, p.29]

Too many songs sport frumpier styles. [Nov 2018, p.34]

Blood Red Roses is as stylistically varied as its predecessors. [Nov 2018, p.37]

Her faintly punch-drunk voice sometimes sounds just a kilojoule of energy (or lack thereof) from uninterested, but just as often she's as winsomely weary as she is vulnerable, and the impeccably stylish decoration seals our seduction. [Nov 2018, p.25]

Its fuggy electronics and lyrical non sequiturs not giving up their secrets easily. Still, a few moments stand out. [Nov 2018, p.32]

It's beautifully eerie. [Oct 2018, p.30]

Konoyo draws inspiration from Tokyo Gaksu, players of gagaku, a Japaneses classical music. You can discern this in the gentle drones and fluting of the opening "This Life," but it's soon all transformed by the producer--as it is on the fizzing "Keyed Out" or the lovely "Mother Earth Phase"--to the subordinate role in Hecker's rather more epic sonic drama. [Nov 2018, p.30]

Pigs x7 are a band that appreciate a bit of theatre. There is plenty of that going on in this second album, along with a whole bunch of heavenly riffs. [Nov 2018, p.34]

It's business as usual, but a welcome return nonetheless. [Nov 2018, p.32]

It's the low-key moments--the astral jazz of "There Was Always Water;" the clunky, piano-led "Back For Me;" the dubby "How Far Is Spaced-Out?"--that hit home emotionally. [Nov 2018, p.30]

Batt's orchestral arrangements as the band revisit classics such as "Quark..." and "Psychic Power" are surprisingly effective, even majestic in places. [Nov 2018, p.30]

Although his take lacks Bob's iconoclasm, there's something deeply reassuring about his laid back schmooze on abiding classics such as "Night And Day" and "Fly Me To The Moon." [Nov 2018, p.34]

They're back on form, with tow long, lovely drone-outs, buzzing and huffing around an eternal monochord, and "Atropos," a gorgeous, deep, cosmic country comedown. [Nov 2018, p.30]