Automator's cinematic drama provides a stirring backdrop for the Doctor's prolix self-celebration, the ribald "Polka Dots," sinister "Power Of The World" and woozy "Flying Waterbed." [Jul 2018, p.27]

A strange, rich and global journey in sound--lasting just 37 minutes, Bon Voyage begs to be put on again, each listen revealing more of the myriad ideas that make up its weird majesty. [Jul 2018, p.22]

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]

Handsome melodies are dispatched with nonchalant flair, while the lyrics are consistently wry, whether concerning romantic or political entanglements. [Sep 2019, p.33]

Played and sun with unassuming grace, it's an album of rare generosity. [Nov 2019, p.30]

Sounds great, but a little superfluous. [Jan 2020, p.28]

It's a mix that captures the zeitgeist appetite for the melding of jazz, R&B and electronic sounds while also celebrating the path that led there. [Jan 2020, p.31]

A real joy, though it bears an inevitable sadness. [Feb 2020, p.25]

An enticing hint at other directions that Landreth could go in. [Mar 2020, p.30]

Mixes magic and sci-fi, beauty and horror. [Mar 2020, p.35]

10 duets of intricate stringed alchemy. [May 2020, p.27]

The 2020 material is curiouser sill, a body of elegant guitar pop as abstruse as it is seductive. They've still got it. [Aug 2020, p.39]

A wide-ranging, guest-heavy collection that keeps one foot rooted in grimy, shuddering, low-end sonics while exploring multiple alternative avenues. [Aug 2020, p.34]

An involving double album. [Aug 2020, p.28]

Breach is an often quiet, hushed album, but its message - one of discovering happiness in solitude - comes over loud and clear. [Nov 2020, p.31]

Healy's songs have always been suffused with nostalgia; now, far removed from those innocent days, the poignant pull is overwhelming. [Nov 2020, p.37]

They're breaking no new personal ground, then but. ... Their enthusiasm and wayward energy carry them. [Jan 2021, p.27]

Metal-tinged stadium rockers like "The Machine," "Stand And Fight" and the Sabbathy "The Alchemist" still offer their strongest moments. [Dec 2020, p.27]

The band's pleasure in playing and connecting with fans shines throughout. [Feb 2021, p.25]

Fellow Pretender James Walbourne provides deft guitar and keyboard accompaniment, but it’s the personality and allure of a distinctive voice that keeps you in the parlour. [Jul 2021, p.27]

Nothing wildly new here, yet Cutler's full-time escapist fantasy is pretty persuasive. [Jan 2022, p.30]

The earthbound "This Love", shuffling along on metallic, moody guitar, and the twining, spaghetti-western eeriness of "Sucker Punch" are more engaging, but Here Is Everything could use more of the punch that lists the standout "Trouble". [Nov 2022, p.25]

A fourth album that feels fervently human for all the machine-tooled precision it otherwise demonstrates. [Jan 2023, p.21]

La La Land picks up where that album [Tremblers And Goggles By Rank] - their second of 2022 - left off. [Feb 2023, p.24]

His originals here include the rippling, Arabic-accented, Dizzy Gillespie-inspired" Caravanseral" and the tricksy waltz ballad "Ruth". [Apr 2023, p.25]

An intimate, ballad-dominated song cycle that melds their vintage and experimental sides. [Jun 2023, p.36]

She threads Lou Reed's vocal rhythm over the band's brisk skank on "Hangin' Round", while "Song To The Siren" and "The Man Who Sold The World" slip with similar ease into reggae mode. [Jul 2023, p.24]

A fine album that suggests more pleasure to come. [Jul 2023, p.23]