On Somersault, Beach Fossils continue to expand their sound, and the band gets better as it ventures further from home. [No. 143, p.53]

Underscored throughout is how thoroughly Amidon embodies all of his material, regardless of is origins, and how much his art lies not simply in the songs themselves but in the distinctive, impressionistic atmospherics. [No. 143, p.53]

The album also contains enough experimentation and cleverness to stand on its own in !!!'s decidedly confusing and overpopulated sub-genre. [No. 143, p.53]

The album has more in common with the genre-bending and expectation-shattering records of Shelby Lynne and Sturgill Simpson. [No. 143, p.52]

Spades is a grower, as they say, only revealing its charms to patient listeners over repeated listens. [No. 143, p.51]

Hard, clear and carefully ornamented, their harmonies feel as ancient as the hills and as immediate as the wind hitting your face. [No. 143, p.57]

The wall of sound this band generates with distorted guitars, samples, industrial noise and live drums is overwhelming at times, but the message it conveys about race and class in America is an important one. [No. 143, p.53]

Kinks geeks will relish the autobiographical elements. [No. 142, p.54]

A thoroughly enjoyable and loving tribute. [No. 142, p.57]

They've abandoned songs entirely in favor of pulsing, predominately electronic pieces that radiate a warmth that contrasts dramatically with Labradford's chilly austerity. [No. 141, p53]

Toth's spare lines still keep you listening and wondering, reeling you in to music that starts out gently lyrical and ends up as immersive as the sea. [No. 142, p.61]

A classic totem of those times, given just enough new life to merit a repurchase for original fans, and an exploration for those who weren't there. [No. 142, p.60]

Not many bands release their best work six albums in, yet this could very well be the story here. [No. 142, p.61]

This tune ["Calling Planet Earth--We'll Wait For You"] captures Ra's formidable Arkestra bursting at the seams. ... The two other tracks included here are less essential, consisting of droning tones and percussion interludes. [No. 142, p.61]

It's all such lovely, elegantly refined stuff that it's easy to sink under the spell of its warm, somnolent glow. [No. 142, p.61]

What an odd, creakily compelling record this is. [No. 142, p.59]

The variety of The Weather definitely offers some spice to lives. [No. 142, p.59]

The album's greatest treasures are sadder and subtler, finding their place within the Willie trifecta of love, loss and loneliness. [No. 142, p.59]

Heartworms is a slow-burning grower that rewards repeat listens but requires some commitment to love. [No. 142, p.58]

The toxic muse behind Pussycat's bitter melodies and crunchy guitar solos is recognizable as the man who's made so many of us feel as dejected as a woman in a Hatfield song. [No. 142, p.57]

A soundtrack that hits with the force of a well-timed punch and soothes like the ministrations of a doomed romantic poet. [No. 142, p.56]

The more significant development is one of subtle, writerly progression. [No. 142, p.53]

The result is classic Blondie, the band's best album since it reunited--maybe its best ever. [No.142, p.53]

Death Song isn't a wild step in any new direction but instead a grindstone-polished showcase of what the group does best. [No.142, p.52]

This collection wraps its three decades' worth of maudlin magic in one neat black bow. [No.142, p.51]

Pollie's sulky tenor is perfectly suited to these tales of heartache and lost affection, with muted backing tracks that intensify the tear-soaked scenarios that bring him solace. [No. 142, p.57]

Paradise still sounds like the work sf an artist turning her face back, if somewhat slowly, toward the sunlight. [No. 142, p.55]

"Praise Ye The Lord" opens the album on a dramatic note, with Previte's cymbal work adding power to the ardent lyric. [No. 142, p.53]