Eve might just be her strongest yet, bold in its subtlety and intimacy, with Zedek's writing bittersweet and observational. [Sep 2016, p.81]

Tobacco's stew of narcoleptic beats, tape experiments, Vocoder mutterings and vintage synths in states of distress has lost some potency in the nine years since BMSR's classic Dandelion Gum, but remains wholly idiosyncratic. [Sep 2016, p.81]

His fourth album as Lawrence Arabia cuts the potential sugariness of strings-embellished, '60s-influenced pop with reflective, often bracingly direct lyrics and wry humour, but sensibly, no sardonic edge. [Sep 2016, p.69]

There's still a tendency to over-emote with superfluous melisma. But when she's at her starkest and most haunting, accompanied by little more than Beste's piano on "Faded" and "Leave You In Yesterday," she hits the spot unerringly. [Sep 2016, p.76]

The opening title track casually drifts into existence, and the rest follow suit, melancholic blend of twinkling steel guitar, rambling acoustic guitars and wearied vocals. [Sep 2016, p.76]

Of late, Cherry Red have rediscovered a role which had eluded them for years, as curators of scenes and scenes in-between. The material here doesn't do that reputation much harm, revealing a thin but potent seam of transitional, very hairy hard rock. [Sep 2016, p.95]

This unheard set, captured at Athens venue The Mad Hatter in 1983, shortly before the band's dissolution, confirms their two fine studio albums were no fluke. [Sep 2016, p.93]

Wasner and bandmate Andy Stack wield sharp production touches, like the breaths that pan "On Luxury," although Tween can suffer from a slight surfeit of scale over melody. [Sep 2016, p.81]

We're All Somebody delivers high-sheen Billboard country fare, more Keith Urban than back-porch picking. [Sep 2016, p.81]

A delicate album of soft '60s-inflected pop that mostly plays like a great Evie Sands or Bobbie Gentry record. [Sep 2016, p.78]

Apache holds its focus on straight-ahead vintage soul-pop, blending mid-tempo workouts and big weepy ballads with swampy shuffling grooves. [Sep 2016, p.78]

The breadth, scope and sheer suppleness of black SUMMERS'night makes one wish Maxwell worked a whole lot faster. [Sep 2016, p.76]

Collingwood remains, however, the guy out of Fountains Of Wayne, and therefore can't help himself from confecting soaring, sumptuous melodies. [Sep 2016, p.75]

A succinct pastiche of junglist, breakbeat and chill-out fare. [Sep 2016, p.75]

Faun Fables sound more shamanistic than ever. [Sep 2016, p.74]

These crafted tracks are built for dancefloor delirium, yet darkness and unsettlement abound, awkward elegance and cool beauty twinned with repetitious abandonment. [Sep 2016, p.74]

Guitar fans will particularly enjoy tracks like "Life Pass" and "Let It Out," where the solos are enjoyably garish. [Sep 2016, p.73]

The album which confirms that the older, wiser Dinosaur Jr--Dinosaur Sr, if you will--compete on quality as well as quantity. [Sep 2016, p.73]

This is an album filled with earworms, with hooklines and stray phrases that burrow deep into your consciousness. [Sep 2016, p.72]

[A] splendid debut for Blue Note. ... Backed by a brilliant ensemble of strings, wind and percussion, Cline's guitar creeps stealthily through arrangements elegant and enigmatic, lush and low. [Sep 2016, p.71]

His debut LP impresses, in large part thanks to smart deployment of guests. [Sep 2016, p.70]

It's a sumptuous set-piece, nine tracks of oceanic expansiveness that shift in dynamics and mood. [Sep 2016, p.69]

For the most part [Blossoms] Don't disappoint. [Sep 2016, p.69]

Fairly conventional, but done with plenty of panache and alluring bad-girl swagger. [Sep 2016, p.69]

There's plenty of uncommon beauty in these four hours of stalagmite electronica. [Sep 2016, p.69]

By using layers of shoegazey guitars and powerfully mic'd-up drums, they create soundscapes that combine Americana with English pastoralism. [Sep 2016, p.67]

Wildflower does a robust job of reiterating core skills rather than offering radical reinvention. [Sep 2016, p.66]

Despite his recent move to a major label, these songs do retain the malicious edge that made its predecessor so enjoyable. [Sep 2016, p.75]