A Kind Revolution shows that Weller's Indian summer of creativity--one that started with 2008's 22 Dreams--shows no sign of ending. [Jun 2017, p.20]

Although at times it can sound a little too carefully planned, there are some wonderful moments. [Jun 2017, p.23]

Haunting, bassy and electronic. [Jun 2017, p.35]

Every song on Big Bad Luv seems to stem from emotional trauma, but he's pragmatic enough to get something good out of each one. [Jun 2017, p.36]

Under Tweedy's almost imperceptible guidance, Shelley has learned to trust her contradictory impulses. Her shyness is amplified, the words more direct.[Jun 2017, p.32]

The lo-fi "If Only I Could Fly" captures the record's rustic spirit, but there's a cowboy feel to "Nobody's Darling." [Jun 2017, p.24]

While it all sometimes gets a little too soporific, the overall effect is undeniably seductive. [Jun 2017, p.34]

This Old Dog is an admirable exertion. [Jun 2017, p.28]

Sounding as hale and hearty as they did on last year's The Machine Stops, the rejuvenated band attain the same state of cosmic ragged glory several more times on Into The Woods. [Jun 2017, p.30]

As if suddenly unleashed creatively, No Shape finds Hadreas building on Too Bright in every direction at once. ... The queer subtext of Hadreas' work is the source of much of its power. [Jun 2017, p.22]

The gauzy, indistinct vocals of Neil Halsted and Rachel Goswell continue to weave their shoey magic. [Jun 2017, p.27]

In Spades is a thrillingly impassioned addition to their catalogue. [Jun 2017, p.21]

Moffat doesn't do much with Mendelssohn's music except to chop it into annoying loops or stretch it out into quivering ambience that lacks the warmth and charm of his previous cut-up efforts. [Jun 2017, p.33]

The morning moods are more immediately engaging, with Eno-ish rhyme schemes and country stylings. [Jun 2017, p.23]

On God’s Problem Child, he sounds a bit like a weathered harmonica: he might have lost some of his higher notes, but he can soar through all the ones that count. The arrangements, which skew more toward classic country and slower tempos than Band Of Brothers, also help highlight Willie’s strengths.

Black Lips have found their way to middle age through a careful balance of punk attitude and rock'n'roll classicism. Satan's Graffiti Or God's Art? keeps that dissolute edge intact. [Jun 2017, p.24]

While it might have played better in 2003, it's a welcome return regardless. [Jun 2017, p.23]

At Saint Thomas The Apostle Harlem proves she's become just as expressive as a pianist as she is with her bloodcurdling wails. [May 2017, p.30]

An immersive and texturally rich listen. [Jun 2017, p.37]

The standard violin-mandolin-accordian corduroy rusticity is shoved aside here and there with musical and emotional ferocity. [Jun 2017, p.34]

The Weather finds them anchoring their sillier musical excesses with solid pop tunes and heartfelt existential concerns. [Jun 2017, p.37]

A broader exploration of form. ... Like most everything here, ["Geraldine" is] a beautifully weighted moment. [Jun 2017, p.26]

Deborah Harry's voice has rarely sounded better, perhaps energised by material worthy to stand alongside the group's brightest back pages. [Jun 2017, p.24]

These five expansive tracks forgo punk rock sloganeering in favour of themes of mystery, sorcery and spiritual jubilation. [Jun 2017, p.34]

Taken on its own terms, Novum is an impressive display of retro firepower. [May 2017, p.37]

[A] darkly compelling new album. [May 2017, p.24]

A listener might be impressed by the scale of the experience, but ultimately there is something missing--intimacy?--missing. [Jun 2017, p.30]

Some of Feist's most affecting and exhilarating music to date. [Jun 2017, p.16]