She embeds her anxious, self-flagellating lyrics in jaunty settings that dynamically replicate garage rock, girl-group pop and doo-wop. [Mar 2017, p.30]

Their 10th studio album might be their best of the new century: 11 songs capturing the reckless dynamic that made these Texans alt.country heroes in the 10th century. [Mar 2017, p.37]

The six tracks are minimalist to the point of vanishing, crafted from gently shimmering electric guitars and murmuring keyboards, while Silberman's soft, high voice, polished like fine silver, delivers a series of quietly emotive haikus. [Mar 2017, p.39]

The jangly, offbeat "Ambulance Chaser" and the pretty, Radiohead-ish acoustic number "Loose Ends" both suggest that Ounsworth has retained some of his old band's arena-filling way with melody. [Apr 2017, p.26]

They recreate the mood and spirit of seriously wiggy space-prog excavations. [Apr 2017, p.35]

Splic[es] savage wit and cynicism with hopefulness. [Apr 2017, p.28]

If art is love, and love is art, then this hyper-stylised, characteristically idiosyncratic break-up album, in the end makes a perfect kind of sense. [Mar 2017, p.36]

The tunes seem to have lost a little of their punch, producer Ken Coomer setting Milia's pale voice against folk-pop arrangements that often feel strangely bloodless. [Mar 2017, p.30]

Savage Times inevitably captures the tenor of its times as the Left Coast watched America turn rightward. [Mar 2017, p.26]

Like Lubomry Melnyk's, Moore's rapid piano-playing creates an appealing haze on "Starwood Choker" and "Form Takes," while his companions augment this with similarly opaque washes of tape delay, spectral drones, bass and woodwind. [Mar 2017, p.25]

Seldom can nostalgia have sounded so fresh on songs such as "Downhearted," "Try" and the exquisite slow burn of the title track. [Mar 2017, p.25]

Wilderness is a logical step for the group, honing their aesthetic, and finding intimate rapture in the peak moments of their carefully crafted songs. [Feb 2017, p.24]

Highway Queen feels like the kind of record that should bump Lane to another level. [Mar 2017, p.28]

The intensity builds so subtly that it's hard to pinpoint when the easygoing chord changes give way to droning menace, but by the time they hit the nine-minute-plus closing reprise of "In Between," the pastoral vibe has been transformed into squalling white noise. [Mar 2017, p.30]

This psych soundworld demands full sensory immersion, but once inside there's much to enjoy. [Mar 2017, p.32]

A former architect, his second album pursues a funky, abstracted techno that, much like the music of his former label boss Actress, has a distinctly London grit. [Mar 2017, p.35]

It's a testament of the savvy of darcy and his producers Ross Gillard and Amy Fort that the new album's experimental passages are very much cut from the same cloth as more obvious crowd-pleasers like "You Felt Comfort," which shares the drive and jangle of "Tall Glass Of Water," and "Saint Germain," a dreamy haze of a song that demonstrates Darcy's gift for melody, absurd turns of phase and more pointed expressions of inner turmoil. [Mar 2017, p.38]

The gentlest Six Organ's outing since 2005's School of The Flower, if not for the menacing rumblings in "Taken By Ascent." Even so, it's more vivid proof of Chasny's ability to create transcendental music free of psych cliches. [Mar 2017, p.39]

It may just be the most satisfying record he's made since the group's stellar 1995 debut. [Mar 2017, p.24]

Khouri acknowledges 1980s dreampop as a seminal influence, and perfumed traces of Galaxie 500, Mazzy Star and Cocteau Twins sweeten The Salted Air in almost every breath. [Feb 2017, p.30]

Plodding covers of "The First Time Ever I Saw Your Face" and "Only Love Can Break Your Heart" are gratuitously dull and, somewhat revealingly, the most rewarding tracks are probably Runga's two original compositions, seemingly appended as an after-thought. [Feb 2017, p.27]

Its four sides teem with microbial incident, particularly in the dense thicket of percussion from Tony Buck that undergrids the album. [Mar 2017, p.35]

Reverse captures Pinhas in turbulent and psychedelic mood. [Feb 2017, p.35]

An odd mix, maybe, but a believable one. [Mar 2017, p.31]

Memories Are Now is built on stacked voices, sparse rhythm and twisted folk shapes, but the execution varies pleasingly. [Mar 2017, p.32]

Vermont is a project now--but the outcome is similarly minimal and beatific, with each of its 12 tracks shaded with only the most essential detail. [Mar 2017, p.40]

Northern Passages is just that [promises both new delights and reassuring old comforts], their banked harmonies as warm and familiar as the blissful psych-country of "Riverview Fog" or the Clarence White-era Byrds stylings of "God Bless The Infidels." [Mar 2017, p.39]

The overall mood is bright, hovering somewhere between the lyrical directness of Jonathan Richman and the West Coast energy of Tom Petty. [Mar 2017, p.37]