Temet manages to broaden their sound further, forging links to funk, soul and jazz. Crucially, though, they've retained the traditional rhythms that make them so captivating. [Mar 2018, p.26]

It's a remarkably immersive and generous album, emotionally as well as musically. [Apr 2018, p.18]

It's all uncomplicated and focused on instant gratification, capturing that ethic that made The Strokes so thrilling. [Apr 2018, p.27]

I'm Bad Now feels as much a modest masterpiece as Spring Hill Fair or Tigermilk. [Apr 2018, p.32]

Firepower delivers an agreeably familiar mix of skull-pummelling drums, eyebrow singeing guitar pyrotechnics and multi-tracked operatic vocals. [Apr 2018, p.28]

Despite also cooking up a glam stomp with "We All Die Young," it sometimes feels overly contrived. The epic "Rusalka, Rusalka/The Wild Rushes" is a notable exception. [Apr 2018, p.26]

Even if Mr. Dynamite sometimes feels like a light-hearted sideshow to more established musical careers, these moments of transcendence make the detour well worth while. [Apr 2018, p.32]

Even more commanding on the follow-up [to its debut]. [Apr 2018, p.32]

Lage switches to electric on Modern Lore, playing in a style that's acrobatic but never ostentatious as he mixes rangy jazz with early rock'n'roll. [Mar 2018, p.28]

Producer Robert Glasper adds a jazz sensibility lacking from Fele's original albums, while Carlos Santana shreds on Black Times, but it's the Egypt 80 big band who are the stars. [Apr 2018, p.29]

Youngs' take on British folk and art traditions remains rich and enthralling. [Apr 2018, p.37]

It offers astutely resonant personal ruminations at the dame time as honouring Baez's enduring search for material which speaks to the social condition of the age. [Apr 2018, p.25]

The lack of variety and formulaic production give this a wholly generic flavour. [Apr 2018, p.27]

Left to his own devices, Byrne comes home to a screwball hymnal mode that, for all the lyrical left turns, can feel a little too predictable. [Apr 2018, p.29]

Salvation lies in juxtaposing their dystopian vision against surging Beach Boys harmonies, gentle Simon & Garfunkel loveliness and the bucolic reverie of "Futures." [Mar 2018, p.25]

Drift captures frontman Mark perro in an unusually subdued mood. ... Drift risks seeming incoherent; no-one can say The Men ever fail to surprise, though. [Apr 2018, p.30]

Felt's abundance of different textures and its carefully composed atmosphere of unease ensure this is more than another recombination of Krautrock and Warp Record Reference points. [Apr 2018, p.35]

Historian fulfills all the promises of 2015's No Burden. [Apr 2018, p.26]

They demonstrate a unique approach, building unsteady sonic sculptures from bizarre beatboxing and sped-up samples and bringing them to life with rapturous soul testifying. [Apr 2018, p.37]

Andrew WK's most lucid slab of party politics since his 2001 debut I Get Wet ditches the improv piano to embrace the 39-year-ld's steroid-enhanced take on cutie-pop. [Apr 2018, p.37]

Slightly pleased with itself, but record is definitely worth a spin. [Apr 2018, p.35]

As vital as any of their previous four LPs. ... All Nerve's highlights are myriad and frequent. [Apr 2018, p.24]

"Dog" is a reverb-heavy highlight, but the whole set is as instantly likeable as it is smart. [Apr 2018, p.35]

It's a cinematic experience that reaches a peak on the immense finale of "Ugly And Vengeful." [Apr 2018, p.37]

It would be satisfying to hail A Productive Cough as Titus Andronicus' equivalent of Who's Next--but sadly it's more "What the hell?" [Apr 2018, p.37]

The songs are autobiographical, but not always straightforwardly so. [Apr 2018, p.22]

Songs move at a satisfying clip, with modal harmonies and woody violin scrapes creating a misty, pensive atmosphere in which their analytical tales of fleeting urban encounters feel like ancient fables. [Mar 2018, p.31]

Although the Poseidon, Lizard and Islands discs all contain bonus tracks and outtakes, the boxset’s primary focus is on live material. Over a dozen concerts from 1971–2 are included, four of which are previously unreleased. ... The sound of the ’71 gigs is gritty and realistic, and often mixed in stereo. But there’s a noticeable drop in quality when the ’72 gigs start (on disc 10) in Wilmington, Delaware. These are cassette recordings, very rough and bootleggy.