The results are almost too intimate to bear. [Jun 2018, p.33]

The Other sees the slacker goofball King Tuff reborn as a spiritual thinker, albeit one with an excellent groove. [Jun 2018, p.30]

An extraordinary instrumental album full of hypnotic rhythms and minimalist melodies that are both stunningly beautiful and at times oddly unsettling. [Jun 2018, p.28]

A bold, brisk, rather beautiful zip through multiple pop genres. [Jun 2018, p.26]

Pedal steel and fiddle waltz around a crystal-clear baritone on a succession of laments to hillbilly heartbreak that ooze class from every pore. [Jun 2018, p.28]

Sometimes this nomadic approach produces some sublime pop, but more often the results are erratic--odd even--but never dull. [May 2018, p.33]

Hippo Lite feels like Le Bon and Presley's own little musical microclimate. You don't have to know exactly what they're on about to recognise that it's something special. [May 2018, p.25]

With Dave Cobb's production reinforcing their boisterous dynamism, Volunteer surveys the sacrifices Old Crow make for their music, the camaraderie of the bandmates and heroes at the expense of the stability of family and home. [May 2018, p.29]

Weirdly, it sounds like a modern-day Alice Cooper album.[May 2018, p.35]

He's been inspired by the Blue Nile and Prefab Sprout, but in truth the synthetic textures and drum machines bring to mind a more downbeat Bruce Hornsby. [May 2018, p.33]

Their playing and singing has laser-sharp focus, while still allowing the songs and their rich, raw melodies the space to breathe. [May 2018, p.35]

Tortoise's John McEntire, producing, keep the whole rhapsodic jam on an even keel. [May 2018, p.30]

Their dogged adherence to the Southern rock template remains at once a strength and an intermittently frustrating weakness. On the upside, the Atlanta group do what they do with devoted attention to detail, and the correct balance of sincerity and swagger. [May 2018, p.24]

It's not all straight A's, but that hardly seems the point. This feels like a necessary act of burning and rebuilding. [May 2018, p.33]

It is the weirder, wilder, experimental material that makes this a significant new career benchmark for the German duo, their boldest and possibly best album so far. [May 2018, p.32]

The songs here are lean, supple, confident. [May 2018, p.18]

Like the stormy contents of 2015's Transfixiation, songs like "Never Coming Back" have no lack of velocity and ferocity, though APTBS often fall between two poles, being not quite able to deliver memorable songs yet unwilling to let the music dissolve into purer forms if turbulence. [May 2018, p.23]

The distinction between their sensibilities remain strikingly apparent. [May 2018, p.33]

Laughing in the face of mortality is a preoccupation, from the honky-tonk close "When I Get To Heaven" and "God Only Knows", but Prine's playful wit is best captured in "Egg & Daughter Nite, London Lincoln Nebraska, 1967 (Crazy Bone)." [May 2018, p.33]

A satisfying whole that demonstrates Taylor's mastery of his peculiar strain of zonked late-night soul. [May 2018, p.35]

Shook might not possess the vocal range of kindred spirits Lydia Loveless or Nikki Lane, but she clearly a force to be counted. [May 2018, p.26]

A batch of songs that snap and snarl in all the right places. [May 2018, p.27]

Roberts continues to mine the traditional songbook, the sound is dominated by McGuinness' keyboards. Composer Amble Skuse adds squirts of electronica, bringing understated ambience to these brutal old songs. [Apr 2018, p.32]

Best are tunes that showcase Cash's plainspoken lyricism and mould his musing into fully formed songs. [May 2018, p. 37]

Impressive stuff. [May 2018, p.30]

While "Symmetry" and "Say Hello" seem destined for pole positions on motivational playlists, such displays of ebullience are well balanced with evidence of Wye Oak's more melancholy side. [May 2018, p.37]

Neither the songs nor their delivery are perfect, but that's perhaps the point. [May 2018, p.30]

Conceived to celebrate the band's 20th anniversary and features everybody who has ever recorded with the band, which basically means they called in a bunch of old drummers to thump out a backing rhythm for Jason Simon and Steve Kille's incessant groove, snarl and swing on choice tracks like "Here With The Hawk" and "Nobody Home." [May 2018, p.27]