It's an effective idea and an enjoyable stopgap before her next masterwork arrives. [May 2014, p.74]

Once you get over the initial shock of Kelis' raw-throated take on country-rock on "Friday Fish Fry," the culinary theme becomes another ingredient that never quite blends into a tasty dish. [May 2014, p.76]

Those who adored The Make-Up may find the skeletal drum machine thunk of "Stuck In A Box" a little demo quality. But Svenonius' charisma is unflagging, and his commitment to the theme can thrill. [May 2014, p.71]

As frustratingly close to perfect as ever. [May 2014, p.73]

It;s an easy, unchallenging ride, but a satisfying one. [May 2014, p.76]

This stone-age jalopy has a definite theatrical charm--malevolent Nick Cave-ish narratives, vicious basslines, squally guitar and touches of honking saxophone, all executed with a visceral energy that's almost painful to behold. [May 2014, p.67]

There's a mellow-late-Beatles vibe at play, especially on "Full Moon," and this may be the band's finest to date. [May 2014, p.83]

The joy is in how much of it there is to listen to, with constant change in tempo, instrument and texture that manage to maintain an overall coherence while keeping everybody from getting bored. [May 2014, p.79]

The Afghan Whigs remain a high stakes band, conducting business not with a eye on self-preservation, but in the heat of the moment. [May 2014, p.72]

Throughout, Crowell’s versatile, impassioned voice is in fine fettle, a confident mix of goofiness and longing, anticipation and excitement, sadness and sentimentality, as if he’s just now entering a new prime. He might well be.

He's let down by the lyrics, which seem, to have been assembled from a collection of fridge magnet soul cliches. [May 2014, p.78]

These are beautiful songs, penned from midlife. [May 2014, p.82]

I Am The Last has a wind in its sails, though, thanks to Tibet's preacher vigour, and an extraordinary guestlist. [May 2014, p.71]

Though sometimes a tad one-dimensional, at its best this music is as warm, sad and effortlessly beautiful as a midsummer sunset. [Apr 2014, p.69]

This is music that looks death square in the face and screams back at it, announcing its life. [May 2014, p.69]

At two hours, it could use pruning, but Belomancie has a visionary quality. [May 2014, p.80]

The unlikely pairing works precisely because of the contrast between their approaches, as they locate a vibrant middle ground on rawboned yet tuneful rockers like "The Prisoner" and dynamic ballads like "No Sir." [May 2014, p.69]

This tasteful collection is best represented by McBride;s cover of Harold Melvin & The Blue Notes' "If You Don't Know Me By Now," matching her satin to the original's velvet. [May 2014, p.77]

This polished third album is a feat for fans of puerile humour and glam-metal guitar solos. [May 2014, p.80]

There are some nice details though daft lyrics such as "I kiss your knees and I try to be bold" threaten to undermine the flashes of brilliance elsewhere. [May 2014, p.73]

Their blue period, perhaps. It suits them. [May 2014, p.76]

She's in fine eloquent fettle, sinking her heart into the ever-resilient material. [May 2014, p.71]

An invigorating debut. [May 2014, p.78]

It's a surprisingly varied record, the mood darkening towards the close, the band ever occasionally busting their habitual one-minute barrier. [May 2014, p.78]

Fun for all the family. [May 2014, p.80]

The homogenous production gets bland real quick, meaning, that, ultimately, it' shard to care either way about it. [May 2014, p.83]

She's performing and singing at her peak. [May 2014, p.83]

The beautiful, feathery songwriting featured on Boson-based Casy Dienel's previous album as White Hinterland has had a steroidal pumping. [May 2014, p.83]