Fall To Pieces is too slight and elusive to move Adrian Thaws beyond his cult-level comfort zone, but there are appealing forays into flamenco guitar, light-headed Eurodisco and gleaming robo-funk here. [Oct 2020, p.39]

This is all about the warm, soft glow of his voice and band, mostly taped together on the studio floor. [Oct 2020, p.36]

There's a more pronounced sense of drive and velocity. [Aug 2020, p.36]

[Producer Dessner's] immersive production, including layered keyboards and twinkling harmonics, pairs perfectly with her elegant voice. [Sep 2020, p.29]

McKenna merges glam, pop, indie and a touch of electronica to make a contemporary sonic exploration of a tumultuous world. [Oct 2020, p.34]

It's the band's ability to so gracefully coexist in these seemingly contradictory worlds that makes them such an inimitable outfit all these years on. [Oct 2020, p.39]

Krieger's fuzzy, sustain-heavy guitar solos drift along pleasantly. [May 2020, p.28]

"Blue Motel," with its drunk payday regulars, is a classic Penn narrative conceit, while "One Of These Days" nods to mortality at 78, but this craftsman keeps working. [Sep 2020, p.35]

Gold Record is very assured, marking a refinement of the Callahan sound. [Oct 2020, p.28]

Rarely bubbles over into the remarkable. [Sep 2020, p.25]

It's as stylistically free as any GAM record - and as exquisite. [Oct 2020, p.32]

Is often guilty of over-earnestness and sentimentality. [Oct 2020, p.27]

They've drawn their inspiration from a wider constituency. [Oct 2020, p.25]

She approaches the material with understated expressiveness. [Sep 2020, p.32]

The monotone vocal diatribes can be a little waffly, but the urgent, Bloc Party-esque thrust of "Dig In" and the addictive synthpop throb of "Prism" are incisive backdrops that keep you engaged, if not completely converted. [Oct 2020, p.32]

The once robust voice is thinner but still gruffly effective. [Oct 2020, p.39]

Joseph's craggy voice is perfect for such heavy-duty topics. [Sep 2020, p.28]

The songs boast a quality of spaciousness and delicacy that was rarer on 2018's otherwise very fine Lionheart. [Sep 2020, p.32]

Rancid's "Olympia, WA" sounds like an Americana roadtrip rebel anthem with Old Crow Medicine Show's Ketch Secor in the passenger seat; Harry Styles' "Sunflower, Vol. 6" gets redone as acoustic lovestruck magic. [Oct 2020, p.39]

A spellbinding listen. [Jul 2020, p.36]

They have the grit and immediacy of demos, but Whole New Mess sounds just as powerful and just as finished as its more polished predecessor, like we're hearing Olsen work through her ache and confusion in real time. [Oct 2020, p.34]

A welcome development is Owens' voice: this time, when deployed, it's positioned centrally. [Sep 2020, p.35]

While these versions don't venture far from a cooing, lullabyish feel, it's a cosy, inviting one. [Sep 2020, p.28]

It's a familiar mode - "instant vaguely leftfield record collection"- but it's beautifully played, and a reminder that Dwyer can occasionally do restraint. [Sep 2020, p.25]

Here are 10, funkily inventive delights that fuse the driving, percussive-heavy folk tradition with his own "jibber jabber," using guitar, drum machine and electronics. [Sep 2020, p.32]

An album of passion, wit and spirituality that, like its title, invites us not only to evolve, but to revel in our evolution. [Sep 2020, p.30]

None of the best tracks here would have sounded out of place on Old 97s' mid-'90s classics "wreck Your Life" and "Too Far To Care." This consistency feels, by now, like confirmation of the purity of Old 97s' original vision. [Oct 2020, p.34]

Erasure has yet to really match the duo's early imperial phase, but here Andy Bell and Vince Clarke dish out the cosmic showstoppers with all the elan of their 30-year-old selves. [Oct 2020, p.31]