The trio's "shaman beat" can be intoxicating even if it's sometimes more meandering than mantric. [Jun 2016, p.71]

Weird but good. [Jun 2016, p.73]

The Ship successfully combines--surprisingly for the first time--his ambient and song-based work. [Jun 2016, p.73]

It's not easy to ooze insouciant cool while pounding out febrile garage-punk, but LA quartet Feels manage to pull that off throughout this spiky debut. [Jun 2016, p.73]

Aladdin is Green's most satisfying album in awhile. [Jun 2016, p.73]

[A] low-key, often gorgeous new project. [Jun 2016, p.79]

Worth the wait. [Jun 2016, p.76]

Their fourth full-length is eclectic and confident. [Jun 2016, p.78]

A much-devalued word--and probably one of the creator despises--still seems apposite for this lovely album: ethereal. [Jun 2016, p.75]

A hugely entertaining album. [Jun 2016, p.71]

It might work as visual theatre, but as an album, it's horribly relentless. [Jun 2016, p.71]

It's a record that finds The Jayhawks in pristine fettle, it's country-rock stylings evoking the blithe warmth of 1995's Tomorrow The Green Grass while punching a little harder with age. [May 2016, p.70]

A fuzz-tinted spaghetti-western vibe holds it all together. [May 2016, p.75]

It's an agreeably raw listen. [Mar 2016, p.80]

[Bardi Jóhannsson's] presence is overshadowed by that of Jean-Benoît Dunckel. [May 2016, p.79]

A series of typically charming, if not overly adventurous, indie-pop songs. [May 2016, p.78]

Two fetching female voices bring a soft-focus glow to the linchpin songs on this incandescent album. [Apr 2016, p.79]

Superb third album. ... The album is beautifully structured like this, with narrative threads and recurring thoughts picked up and passed from song to song. It's also self-referential but, crucially, never arch. [May 2016, p.68]

The fruits of his change of mind are bittersweet and eloquent alt.pop songs that recall Bon Iver. [May 2016, p.82]

Hookworms twist "The Sky Of all Places" into a Mary Chain approximation of Metal Machine Music and Factory Floor make desiccated disco mincemeat of "sink," while Loop guru Robert Hampson, Death In Vegas's Richard Fearless, Ride's Andy Bell and Mogwai's Stuart Braithwaite demonstrate the oldies' appetite for deconstruction.[Apr 2016, p.79]

Sherwood's two live mixes almost capture the intensity of their stage show. [May 2016, p.78]

Suffused in both the dread mortality inspires and the peace that comes with accepting its inevitability, it simultaneously addresses the effects that the passing of years has on one's relationships and the compromises these demand. [May 2016, p.66]

A deceptive simple, calm record, Love Letter... sounds both intuitive and direct, and any wrangling along the collaborative way is undetectable. [May 2016, p.80]

The lyrics cover some heavy subjects--feminism, Catholicism, corrupt Irish institutions-- so it's a pity that the hopelessly muddy production means that they might as well be singing in Icelandic. [May 2016, p.79]

A modern new-age gem. [May 2016, p.79]

It's a telling indication of the degree of daring and sophistication at hand that artistic gestures which might have seemed contrived or ill-conceived in other contexts--like say, transforming Nirvana's "In Bloom" into a majestic country-souul ballad worthy of Charley Pride-yield some of the most startling results. [May 2016, p.63]

A certain crispness is now prevalent, along with expanded horizons. [May 2016, p.82]

It's a structurally savvy set stuffed with impeccably wrought pop hooks. [May 2016, p.81]