A Classic Education have created a set that demonstrates proficiency while leaning heavily on an established style.

Some come-backs are fraught with danger, both commercial and artistic. This one is entirely justified.

His manipulations have gotten more patient, his sketches have become full tunes, and half-obscured melodies have received a lighting from the lamps.

Mature, reflective, elegant and just that little bit haunting, but ultimately and most importantly of all, brilliant.

It is samey, ugly and spectacularly stupid at the same time.

St. Vincent's most sonically rich effort to date.

While it is more realized than previous effort The Stand Ins, Okkervil River is showing potential for new direction more than they are showing versatility.

It's the album that makes her the comparative standpoint in her own right--suggesting subtly that she may one day be the talismanic songstress for her own generation.

Only three tracks are of sufficient quality to have seen the light of day and it means you can't help but question the motives behind the release of such an inessential collection.

a record that is both this good and a display of a band with so much more to show us does not come along often.

In spite of the album's wilfully hard-to-stomach intensity, [it] will appeal to fans of art music of many different backgrounds.

Magazine manage to retrace where they left off, rediscover their intricacies and do an excellent job at defining themselves for, what one can only hope will be, new generations of listeners.

It's not just the hooks of the songs that make this EP so bewitching, it's also a prophecy for post-dubstep.

The Black Keys have created a record that they believe is how a rock'n'roll record should sound, but without soul or sex or genuine sweet emotion.

When it's good, it's great; it's just a shame so many tracks fall short of his usually very high standards.

It's easy to criticise Talk That Talk but it's actually a fun and enjoyable record.

Ritual Union is catchy and well-produced, but it certainly doesn't demand any more than a handful of listens.

After a promising opening trio of tracks, Sticks + Stones wanes badly, and begins to sound more and more like it's been focus-grouped by industry executives in pursuit of a quick buck until there's barely any semblance of character left.

The SMiLE Sessions is a superior version, its sound undeniably belonging to its era and the true brilliance of Wilson's compositions seeming to shine a tad truer.

An Album assembles all the loose threads from previous bursts of inspiration to sequence a scenic panorama to get lost into.

It has all the joyousness, all the Pet Sounds hallmarks, and yes, all the bloody echo chamber of the best of the genre.

9 1/2 Psychedelic Meditations on British Wrestling of the 1970s and Early '80s is, other than a long title, a quintessentially Luke Haines record, it's just not one of his best

Even with today's technology, harvesting emotions as such is perplexing and strenuous. But Kirby does it with a special kind of grace.

It's the work of a mature and serious artist, who has made a unique and lasting contribution to pop, and this album will continue her reputation.

On The Water relies less on the vocals than its predecessor. The music is more robust, adding more layers than the minimalism of before.

Even if his insecurities can illicit a few cringes (he sounds genuinely upset with his haters on All The Shine), there's enough empowered anthems like Bonfire and Outside for Childish Gambino to pull through.

It's not a love-hate relationship I have with his stuff, it's more like a so what attitude. So what if he gets Laurie Anderson to recite drab poetry on his record, so what if he can play tens of thousands of notes in one breath.

It's not up there with their very best, but it's actually not that far off.