There are overdubs, Auto-Tune and, most conspicuously of all, songs have been overlaid with Animal sounds. [Jul 2016, p.68]

This is a satisfying strange listen. [Jul 2016, p.75]

On the cautionary rockabilly of "Put Out The Fire" and low-slung raunch rap of "Ain't No Rhyme," he demonstrates a firm grasp of his essential strengths. [Jul 2016, p.70]

It has a transitory feel; a half-step back from those monolithic builds and whiplash grooves, gesturing towards something more contemplative and ... well, "softer" feels the wrong word, but weathered by the journey. [Jul 2016, p.80]

The very wonderful Eyeland finds them poised between the familiar and the less so. [Jul 2016, p.75]

There are reminders of St. Vincent on "Happy" and "Thursday Girl," while "A Loving Feeling" boasts The Breeders' punkish brevity. [Jul 2016, p.78]

As they've refined their technique, they've almost erased the need for lyrics, while their twin obsessions--romance and the celestial--remain constants. [Jul 2016, p.89]

Fohr's voice is the constant, but here's it's denuded, its strangely hollowed-out tone perfect for Jackie Lynn's dizzying theatrics. [Jul 2016, p.76]

At its heart, though, this is essentially a great pop album. [Jul 2016, p.83]

On his third solo album, he's found a niche that suits him. [Jul 2016, p.81]

Quibbles aside, though, this appears to be a partnership with plenty of mileage left. [Jul 2016, p.70]

These diorama-songs of a Mayberry gone to seed don't sound to different from what you might hear on mainstream US radio--only much more lovingly observed and finely crafted. [Jul 2016, p.71]

There are moments, such as in "Crazy Love" and "Monster Again," where the vibe is less open-hearted confessional than "Futurehead Does Andrew Lloyd Webber." Even so, this is a brave and extremely poignant piece of work. [Jul 2016, p.74]

Like coiled springs, this Manchester four-piece fire out jabs of tight pop-punk energy that seem created with the intention of filling an indie dancefloor. [Jul 2016, p.79]

Patience is still a warm and uplifting record befitting this modest, meticulous band. [Jul 2016, p.74]

Polished but pedestrian. [Jul 2016, p.78]

A moving collision of past and present. [Jun 2016, p.78]

The sound of two talented men messing around and letting off steam in a studio. Much livelier than Tunng. [Jul 2016, p.81]

This is old-time spiritual soul shot through with urgent, electric energy. [Jul 2016, p.79]

Initially foreboding, its laminar abstractions give way to the stealthy textural seductions of centrepiece "Line Angel," where shards of electronic glass penetrate a wavering organ drift, and the choral minimalism of closer, "MFBK." [Jun 2016, p.78]

Toussaint masterfully irons oout the kinks and the dissonances from the city's music. [Jul 2016, p.77]

An unqualified triumph. [Jul 2016, p.73]

This fruitful collaboration between k.d. Lang, Neko Case and Laura Veirs succeeds largely because it makes room for all three distinctive voices and songwriting styles, alongside sublimely blended three-way harmonies. [Jul 2016, p.71]

Not quite the rebirth it might have been, but a welcome retread. [Jun 2016, p.73]

A terrific, laidback, sleep-headed dose of minor key psychedelia, which has something of the flavour of Spiritualized at their finest. [Jul 2016, p.79]

There are delicate nylon-strung acoustic guitar solos, punky and ecstatic Ornette Coleman covers, thrash metal improvisations for just guitar and drum, and intriguing battles with saxophonist Chris Potter. [Jul 2016, p.88]

It's much less obstreperous than most of their earlier works. [Jul 2016, p.76]

Songs such as "Golden Days" and "No Woman" combine the fragile longing of indie-pop with the superior songwriting smarts of classic early-70s rock, in a way that should reel in fans of Josh Rouse and Liam Hayes. [Jul 2016, p.82]