Utopia Defeated justifies the hype. [Nov 2016, p.26]

Jones displays a fluid keyboard touch and nuanced vocals, not unlike Diana Krall's recordings. [Nov 2016, p.31]

[A] profound, funny, intricate album. [Sep 2016, p.63]

A sturdy, touching arrival. [Nov 2016, p.31]

Smash The System is looser, punchier, a surrealist pop masterpiece. [Nov 2016, p.28]

It has its moments. [Nov 2016, p.39]

The resulting album is a homage that feels and sounds fresh. [Nov 2016, p.26]

Marten now has an appealingly gentle voice and an intuitive feel for melody. [Nov 2016, p.32]

The bland, fist-punching positivity of "Hole In My Soul" and "Parachute" are pitched somewhere between Cold Play and The Killers, but occasionally the reinvention works. [Nov 2016, p.31]

The result is a playful and moving return to themes like the battle of the sexes, and love lost in a blur of alcohol. [Oct 2016, p.37]

This first solo release in 10 years finds him in majestic form. [Nov 2016, p.40]

The most prismatic Hiss Golden Messenger record to date, one that ranges confidently from the folk shuffle of "Say It Like You Mean It" to the taut rural funk off "Like A Mirror Loves A Hammer." [Nov 2016, p.22]

Over time, however, a fondness for arpeggios becomes as predictable as island life. [Nov 2016, p.39]

It's just a lovely collection of songs, in which the serenity of voice and understatement of band create a humane intimacy rather than anything more mystical. [Oct 2016, p.32]

Surreal humour, suave style and deluxe Europop make for a potent comeback. [Nov 2016, p.40]

Whatever it is that keeps him singing still packs a potent emotional punch. [Oct 2016, p.35]

Revolution Radio, happily, shares more with the zestier (and earlier) likes of Nimrod. [Nov 2016, p.28]

Though Requiem doesn't quite match the free-flowing intensity of some of Goat's earlier work, it's continually enriched by a fervent sense of joy and abandon, and an infectious eagerness to get lost in music. [Nov 2016, p.28]

An album that's both sad and angry, thoughtful and impassioned, and desperate for America to escape its chequered past. [Nov 2016, p.18]

Unhurried passages of string melodies dominate, but often underpinned by unsettling notes of cello and bursts of shortwave radio as he explores the myth of Orpheus' escape from the underworld. [Oct 2016, p.32]

Physicalist feels like a heavyweight statement. [Nov 2016, p.26]

This audio companion to Springsteen's upcoming autobiography serves as a decent best-of. [Nov 2016, p.52]

Young Americans is one monster hit album, but stripped of "Fame," the record's pre-Lennon form as The Gouster makes an immersive, alternate take on Bowie's Sigma sessions. [Nov 2016, p.49]

The second album is a little more groove-oriented than the trio's 2014 debut LA Spark. [Nov 2016, p.40]

Simple, unforced piano ballads sit besides florid pop singles. [Nov 2016, p.37]

The trio [is] on reassuringly unpredictable form. [Oct 2016, p.40]

The Mood is subdued but cavalier, more of a mixtape. [Nov 2016, p.24]

The sprawling haziness still lingers, but the songs are sharper and studded with guests. [Nov 2016, p.24]