There's always a sense of menace, but it's surprisingly restrained. [May 2015, p.78]

This is more Wilshire Boulevard than Cyprus Avenue, trading largely in a kind of light Vegas-y swing. [May 2015, p.77]

Froot is another big, unabashed pop album astutely balanced with sufficient melancholy and restraint to stop it from all getting too Katy Perry. [May 2015, p.77]

A (rap-free) triumph. [May 2015, p.77]

[A] flat-out sensational album. [May 2015, p.77]

Escape From Evil is a record about grief, and at times hits hard. [May 2015, p.76]

[An] utterly wonderful record. [May 2015, p.76]

There are missteps--the tinny horns of "fanfare," or the mantra of "Vitriol," which is silly in the same way Kula Shaker were silly. Straighter Moments hit, though, largely thanks to drummer Greg Fox's athletic disposition and some mighty crescendos. [May 2015, p.76]

The Great Pretenders inhabits that dreamy lysergic terrain staked out by The Flaming Lips and early MGMT. [May 2015, p.77]

They're best when dialing it down a few notches. [May 2015, p.75]

Despite this gaggle of helpers, If I Kill This is a surprisingly muted affair. [May 2015, p.75]

The washed out pastel shades and electronic frills on the likes of "Doctor M" and "Cross Off" help ensure that any latent familiarity with Johnson's influences is outweighed by reverberant production reminiscent of Broadcast's spooky psychedelia. [May 2015, p.73]

This third album also boasts that customary lazy Australian twang, but allied with some fine songwriting and a deft lyrical touch. [May 2015, p.72]

A usefully pungent backstory enlivens this decent collection of head-nodders. [May 2015, p.73]

Semi Detached is stuffed with perverse gear such as acid shanty "Deep In The Mine." [May 2015, p.71]

When Sexsmith does finally pull a heartbreaker out of the bag, it's a doozy. [Apr 2015, p.83]

It could all feel a little too knowing were the songs not so exceptionally strong. [Apr 2015, p.73]

Their sixth album is their most direct and uplifting yet. [Apr 2015, p.83]

It's exasperating at first, but the rewards are there for the dedicate dreamer. [Apr 2015, p.77]

Evocative, but with plenty of open spaces. [Mar 2015, p.75]

It’s astonishing that they managed to come up with several of the most thrilling pieces of primal UK R’n’B, before going on to invent the rock opera, following one of the more creatively intriguing examples of ’60s pop’s transition from mod to psychedelia.

A highly assured debut. [Apr 2015, p.75]

Their sound has nonetheless developed in intensity and sophistication.... Beautiful. [Mar 2015, p.83]

[An] unassumingly seductive set. [Apr 2015, p.80]

Some of Wold's tracks here with a full band don't descend into pub-blues mediocrity. [Apr 2015, p.83]

Drum machines and brass add a little range to the prettily strummed ethereal balladry. [Apr 2015, p.77]

Gonzales' conceptual stunts never detract from the music's inherent prettiness. [Apr 2015, p.76]

All she lacks is a really killer song. [Apr 2015, p.72]