Literate, idiosyncratic power pop, ploughed from a furrow between Fountains of Wayne and The Posies. [Mar 2020, p.33]

Feels like a decisive clean break. [Mar 2020, p.30]

There's always a glimpse of the human in Popp's music, an organic feel that gives a sense of a hand at the controls. [Mar 2020, p.33]

They sound as Zappa seldom does: not over-thinking it, and guilelessly lost in the moment and in the exuberant joy of the playing. [Feb 2020, p.40]

Field recordings and ghostly cello further underline "Ghosts of Blaker Dyke"'s poignancy, recalling David Sylvian's instrumentals on Gone To Earth. [Mar 2020, p.29]

Call it an expansion rather than a reinvention--but it's a dramatic and rather dazzling one. [Mar 2020, p.27]

As a whole, West of Eden is extravagant and ridiculous, but it embraces its own erraticism. [Mar 2020, p.29]

Opening up the album to new ideas and interpretations without obscuring the man himself. [Mar 2020, p.35]

Karen's spectral, childlike voice sounds like it's been beamed in from a haunted 19th-century log cabin. [Feb 2020, p.29]

It's an album that delights, challenges and provokes, while reimagining old folk traditions. [Feb 2020, p.35]

Unorthodox methods prove highly persuasive. [Mar 2020, p.27]

Fuses the hormonal aggression that put Green Day on the map with punched-up modern-day production courtesy of Butch Walker and a razor-sharp mix by Tchad Blake. [Mar 2020, p.29]

Fearless seldom surprises--he's been doing this kind of thing long enough to know what works--but is quality is consistent. [Dec 2019, p.26]

Britfolk's most adventurous neo-traditionalist takes the surprise quotient to new heights on this conceptual set. [Feb 2020, p.30]

A real joy, though it bears an inevitable sadness. [Feb 2020, p.25]

By facing up to their demons, they've recaptured what made them special. [Mar 2020, p.37]

If you like your pop super-sweet and synthy, fill your boots. [Mar 2020, p.25]

Evokes Watt's early mentor Robert Wyatt at his most enthralling and adventurous. [Mar 2020, p.37]

A giddy psychedelic opera performed with Wayne Coyne-levels of beaming optimism. [Mar 2020, p.27]

There's a sublimely soulful central vocal melody underpinning songs such as "Papa," "VanP" and "Differently," as patchworks of vocal loops create bewitching organic grooves. The showtune jazz and circus-y, Tom Waits-ish vibes elsewhere are also highly intriguing. [Feb 2020, p.23]

Not a game-changer, but a solid mid-career statement from a true original. [Mar 2020, p.37]

Demonstrate[s] the multifaceted yet coherent place Scott has arrived at as a songwriter. [Mar 2020, p.37]

There's a strong senes of '76 punk to All in God Time, more precisely bands like the Damned and Dead Boys. [Mar 2020, p.27]

This is a tremendous album. [Mar 2020, p.22]

Laudably, unfussy. [Feb 2020, p.35]

More than witty and vivacious enough to satisfy anyone who's stuck with the saga thus far. [Mar 2020, p.35]

Revisits the kind of understated, politically slanted synth-pop that defined the Minnesota band's last two Trump-haunted albums. Nut Leaneagh also digs deeper on more hopeful, personal ruminations. [Mar 2020, p.35]

A dozen young singers from Guinea, Ivory Coast, Benin, Algeria and beyond [lend] a youthfully purposive and fearless energy to songs about misogyny, sexual identity, force marriage and FGM. [Mar 2020, p.30]