This follow-up is lighter still, housing Friedberger's gorgeous voice and diary-entry love songs within a freewheeling sound that bounces around the late '60s and '70s, looking for classic pop clues. [Jul 2013, p.75]

Of course, Black Sabbath can't fully turn the clock back to the beginning--but they can still do a pretty good job of sounding like the beginning of the end. [Jul 2013, p.70]

It's a fine effort in a heavily populated field. [Jul 2013, p.76]

Wings Over America is, like any triple live album, too bloody long. But its also a snapshot of a Paul McCartney who, despite some of the Wings album-track dross, felt compelled to make surreal symphonic pop that continued the pop ideals of Sgt Pepper and The White Album.

Immunity's greatest rapture, however, lies in Hopkin's welcome reunion with King Creosote for the title track's glistening melancholy. [Jul 2013, p.76]

The result is both catchy and sadly predictable. [Jul 2013, p.77]

CO's fifth album clothes Campbell's vignettes of thwarted romance in increasingly sophisticated arrangements. [Jul 2013, p.72]

...Like Clockwork is the sound of the band, oddly, albeit entertainingly unsettled. [Jul 2013, p.79]

Doldrums' frequently multi-tracked falsetto is the icing on an appealingly irregular cake. [Apr 2013, p.71]

He is a talent with real musical depth. [Jul 2013, p.78]

Rare and enchanting understatement in a brash and gaudy world. [Jun 2013, p.69]

The result is something abrasive but controlled. [Jul 2013, p.83]

It's chaotic then, but it's also packed with charm. [Jul 2013, p.83]

It's the quintet's talent for sneaking in moments of surprising prettiness that makes their seventh record such a charmer. [Jul 2013, p.81]

A disappointing triumph of retro-goth style over substance. [Jul 2013, p.80]

Their UPS lies in their assured threading of post-war archive material from StudioCanal, the BFI and old propaganda reels through Avalanches-style musical collages, [Jul 2013, p.80]

Hermetically sealed but beautiful. [Jul 2013, p.80]

Ghost's raps are more Staten Island than Sicily. [Jul 2013, p.76]

Not wonderful, but certainly frightening. [Jul 2013, p.75]

El Khatib and Auerbach pull off their modest yet elusive goal--to make a kickass record from start to finish--with brutal elegance. [Jul 2013, p.75]

[Kozelek's] blend of technical excellence and emotional authority gives the album its strength. [Jul 2013, p.74]

Silly and overblown, but wittily, brilliantly so. [Jul 2013, p.73]

With echoes of everyone from Big Star to Elliott Smith, Bored Nothing have sufficient promise to be really something. [Jul 2013, p.71]

The dentist-drill whine of Klachefsky's voice will scare off all but the hardy, but Boats rock regardless. [Jul 2013, p.71]

Six albums in, they remain fond of that very Swans pursuit of ecstasy through repetition. [Jul 2013, p.69]

On the whole, it's a little in hock to its influences, although the closing eight-minute title track is a fine exception. [Jun 2013, p.73]

The results go beyond folk, with flurries of orchestration and discord adding rusty grandeur to Flemmons' pained vocals. [Jun 2013, p.69]

A return to a winning formula, if not an emphatic return to form. [Jun 2013, p.79]