Nostalgic homage never overwhelms the heady sense of sonically rich, exploratory weirdness. [Jul 2016, p.71]

At a time when a generation of US roots guitarists are reaching creative maturity, Modern Country reasserts Tyler's place at their forefront. [Jul 2016, p.81]

On this inspired album, jittery characters sketches alternate with introspective ballads bearing echoes of Simon & Garfunkel, astride variations on the exotic rhythms that have propelled his music since Graceland. [Jul 2016, p.79]

There's some fine original songwriting, particularly from Stills. [Jul 2016, p. 79]

An agreeable anachronism that feels '60s but sounds '80s. [Jun 2016, p.79]

The results are sometimes almost listenable, which is why the most compelling songs on her third LP allay these avant-garde instincts to a belting tune. [Jul 2016, p.69]

These are nuclear-grade pop hits that don't sacrifice on adult emotional complexity: a rare power. [Jul 2016, p.81]

Lyrically, it's the darkness that maintains its grip, sometimes alarmingly so. [Jul 2016, p.74]

Marking youthful reminiscence and the passage of time, WWW rocks with gleeful, guitar-driven, singsong abandon. [May 2016, p.78]

Other elements are more familiar, but this beguiling debut is never less than the sum of its parts. [Jul 2016, p.76]

Like 2010's The Shine and 2013's Hoodoo, Rain Crow is thick with nervous trepidation, ominous trips into the rural mindset. [Jul 2016, p.82]

There's a winning mix of mist and muscle on this debut. [Jul 2016, p.69]

An unapologetic confection of lush overstatement. [Jul 2016, p.67]

Their music is accruing more bewitching, dramatic layers. [Jul 2016, p.71]

It manages to top those two finely crafted albums [2013's Time Off and 2014's Way Out Weather]. It's more streamlined in its playing, more confident in its writing, more determined in its mission. [Jul 2016, p.72]

With Ash & Ice, they're back on compelling track, cranking their songs' rhythmic drive while focusing as much on structure as mardy atmospherics. [Jul 2016, p.75]

Simultaneously dry, jaunty and eerie, As If Apart takes time to get lost in, but it's worth the effort. [Jul 2016, p.71]

Although mercifully less in line with the Kooks/Courteeners hegemony than their first album, The Ride is stodgily dedicated to the Real Rock cause, even while it's shooting for Alex Turner's autobiographical cool. [Jul 2016, p.71]

A seductive mix of pastoral folk, motorik beats, psychedelic ragas and gnarly '70s rock, transposed to the Japanese landscape. [Jun 2016, p.74]

Though lacking a defining identity, at its best it's like listening to a long-lost compilation playing all the AM radio hits that never were. [Jun 2016, p.78]

Mosey is clearly not just the work of an absurdly gifted musician, it's the product of an exceptionally vibrant mind. [Jun 2016, p.70]

Big Thief are at their best when the instruments step back and create a mellower platform from which Lenker can dominate. [Jul 2016, p.69]

The attitudinal posturing wears thin on "Killer" but stuttering funk, the Depeche Mode in the moshpit vibe of "Little Mamma" and a timely nod to Prince on closer "Something" all hit the spot. [Jul 2016, p.69]

This is a satisfying mix of revised and completed '60s recordings by original Monkees songsmiths like Boyce & Hart and Neil Diamond, with new songs by the likes of Andy Partridge, Rivers Cuomo and Adam Schlesinger. [Jul 2016, p.78]

Her full-length debut confidently and even defiantly collides raw garage rockabilly with distorted blues and ornery old-time folk. [Jul 2016, p.81]

There's no denying the pair know their way around a perky tune, but their songs are unmemorable because their sound is so heavily recycled. [Jul 2016, p.82]

Shame about the occasional guest vocals, which veer a touch drab compared to their glittering backdrops. [Jul 2016, p.78]

It takes a while to get over that initial disjuncture, and the title track is a headache-inducing mes that sounds like a Bo Diddley rhythm played on electronic toys. Other tracks slip down quite appealingly. [Jul 2016, p.76]