Unreleased mixes, instrumentals and PiL's semi-legendary 1979 concert at Manchester's Factory are worthy additions, stretching the dense, dubby miasma out for four hypnotic hours. [Dec 2016, p.51]

This gradual sense of revelation is reflected in Gas’ musical development. Each album has its own characteristics.

Weighty and impressive. [Dec 2016, p.49]

Everything is done with the casual-sounding confidence that comes with hard experience. [Dec 2016, p.38]

Marc Collin's French collective remain a one-trick pony, but it's still a great trick. [Jan 2017, p.28]

This is arguably The Coal Porter' finest yet--a deft, thoughtful and beautifully arranged set with an airy sense of melancholy. [Nov 2016, p.25]

At times, mellifluous minimalism shades into mundane monotony, but these electro-mechanical reveries mostly achieve a kind of hypnotic power through accretion and repetition. [Jan 2017, p.24]

It's a mind-boggling assemblage of swingin' 50s "space-bop" like "Soft Talk" and "Super Blonde," processional chants such as "Rocket #9" and "Journey To Saturn." and electronic keyboard voyages like "The Perfect Man" and "Disco 2021," an edited taster of the monumental "Disco 3000." [Jan 2017, p.46]

Some of the rather quizzical couplets here, all of them set to heart-wrenching chord sequences that hark back to the band's favorite 1970s guilty pleasures. It set SFA apart from the world of Britpop in the mid-'90s. [Dec 2016, p.51]

This double-CD set offers clues as to how Welch and Rawlings got there [on Revival], and glimpses down roads not taken. [Jan 2017, p.49]

Future Standards is both an intimate, low-key experience and a highly welcome new detour. [Jan 2017, p.25]

Bushnell provides that perfect kind of bass you barely notice. Keltner's percussion is a different story. Captured mostly in first or second takes, he doesn't so much keep the beat as respond to what Young is doing, an improvised interplay of odd, shaggy patterns. The record often becomes a duet between Young and Keltner. [Jan 2017, p.20]

There's nothing fussy about the way Chatham County Line continue to go about their business, their acoustic music occupying the sweet spot between Del McCoury and The Jayhawks. [Jan 2017, p.22]

Harvey maybe a bit too in love with a crunchy delay/distortion footswitch combo, but the likes of "Space Monkeys," he and his younger guys make a creditable, spacey blues. [Jan 2017, p.27]

The theatricality of the Nick Cave-penned "Late Victorian Holocaust" and Roger Waters' "Sparrows Will Sing" perfectly attuned to her autumn-years, grand-dame image. [Dec 2016, p.28]

Utterly addictive and reality-shifting. [Jan 2017, p.21]

[Haxan] presents the Stockholm quartet at the top of its game. [Jan 2017, p.23]

A couple of tracks are interesting alternatives versions of songs from A Weird Exit, while on the all-new pieces, the general mood is mellower than usual. [Jan 2017, p.31]

She produces a cumulative effect that's both shattering and exhilarating. [Jan 2017, p.31]

They situate their voices on a pillowy bed of experimental pop, freak folk and, best of all, the sax-enhanced exotica of the title track. [Jan 2017, p.31]

The mood is pained, the production suitably spare, pushing the singer's understated lyricism to the fore. [Jan 2017, p.28]

Patience is required to navigate his smirking in-jokes. [Jan 2017, p.28]

The angry bricolage of noises, voices, stabbing guitar and jittery programmed drums sounds like the world splitting apart, the first of a series of scarified dubscapes created by The Pop Group and their perfect collaborators. [Jan 2017, p.28]

[A] sonically rich, mostly great album. [Jan 2017, p.28]

Her third album finds her developing her instrumental palette, often allowing moody strings rather than piano to dominate arrangements. [Jan 2017, p.28]

The high concept here is a paean to the ancient Greeks, inspired by the derring-do of gods and heroes: "Diana By My Side" and the breakbeaty "Mars" are suitably Elysian. [Jan 2017, p.28]

Devil Music's relentless velocity and heaps of fuzz and reverb are easy to savour even if it could use more songs as strong as "Lion's Den" and Patterns." [Jan 2017, p.27]

Spread over two discs, it can get a little samey, but "Here Comes Revenge" and "Moth Into Flame" have plenty of bounce. [Jan 2017, p.27]