On Weyes Blood's radiant and beautifully anachronistic fourth studio album, Titanic Rising, Natalie Mering achieves a perfectly balanced synthesis between the old and familiar and the new and unexplored.

Deacon stretches the borders of his songcraft to the limit and it's a joy to hear a showman pushing every part of an orchestra like an overheating laptop. [Aug/Sep 2012, p.109]

Electronics to the forefront and AI involvement in the lyrics, however miniscule; and yet, there’s a warmth and humanity here that’s hard to fake, the product of a band that refuses to stay still.

Anak Ko is a record from an artist whose artistic voice sounds polished and refined, and whose continued growth and greatness will be a joy to witness.

Whatever their next move, Gist Is will leave a mark for Adult Jazz as an innovative and sophisticated act that surpassed all expectations.

Cocoa Sugar is a rare achievement; a record that simplifies a band's sound without diluting it. Somehow, Young Fathers have made their most accessible record yet but also their most introspective and necessary. It serves as further proof that they are one of the U.K.'s very best bands.

Pushing away the froth and frivolity, they leave a darker, more satisfying, and ultimately superior record in their wake. [Feb/Mar 2014, p.74]

Return to the Moon is a winning project, one that enlivens the careers of both artists involved.

Phantom Thread is voyeurism, the eyes of an auteur burned onto rare old film stock, and needing of a soundtrack to dance along with it through the ballroom of imagination. Jonny Greenwood was equal to the task with musical accompaniment that doesn't just take your breath away, it steals it, leaving you gasping in reverence.

While it's nice to have the controlled chaos of an Animal Collective album from time to time, it's nice to get some simply moving music as well. [Nov/Dec 2014, p.66]

This record feels even more pinpoint-focused than her first--perhaps thanks to its recurring themes--and the shaking, distorting sounds she's wrapped around her voice are as beautifully unsettling as her words.

A band world-building effectively is a rare thing; Cigarettes After Sex have created a monochromatic, slow-motion universe of loss, love, hope, sex, and devotion that reaches new heights on this sophomore statement.

On The Hum, the likes of "On Leaving" and closer "Retreat" are underlain with frothy keyboards that imbibe them with a touch of pop brilliance.

As per the band’s recent promise to deliver “only bangers,” they fully deliver. Led by instant fan-favorite lead single “Cold Reactor,” these tracks include some of their catchiest and most memorable hooks.

[An] excellent EDM album that resets the genre.

Cool It Down may be only eight tracks long but there’s so much to admire that you certainly don’t feel short-changed, in fact, it reinforces just how much they have been missed. It’s great to have them back and in such sparkling form.

Beach House is reaching for the moon once more on the beloved Baltimore duo's most stimulating aural experience to date.

Stripped down of any excessive ornamentation, it's the most raw incarnation of Bat For Lashes we've heard yet.

While most tracks on God Save the Animals are simply constructed, often built around either a rambling piano or twangy plucked melody, there are stunning moments of sudden sonic shifts and digital surprises.

The record is lovely. In many instances, it’s Young at his most signature. It’s sad that fans are only hearing it now—but at least it’s here.

Although simplistic in delivery, Whole New Mess feels like you’re eavesdropping on catharsis, crouched on the ground, with an ear to a door—so close you can hear her Olsen breathing between phrases. But soon enough she lets you in, holding your hand, as you both sort through the pain.

While some of these songs date back to their former guise as Thrifty Kids, the album itself bristles with zest and ingenuity. Sounding fresh and exciting whilst fully highlighting not only Cogan and Frankland's insatiable knack for crafting timeless melodies, but also the taut rhythm section of bass player Stephen Pitman and drummer Cian O'Neill underpinning their every move.

Roach is a brutally honest and brave interrogation of self, a struggle powered by Folick’s towering vocals as she plunders the depths of her psyche, in songs that confidently straddle taut indie rock and mainstream pop, illuminating both.

While a somewhat disorientating experience, this is Low's most challenging and interesting record for sometime. [Aug - Oct 2018, p.79]

This the best front-to-back album that Everything Everything has yet crafted, a cathartic, exciting art-pop record that resonates in the brain, heart and tapping toes. [Jul - Aug 2017, p.56]

There's a strong sense of ambition on these recordings, a strong sense of purpose.

Much of the rest of Blonde is far less accessible than its predecessor. And that's not a bad thing.

It's hard to be anything but impressed with what a cohesive, intentioned work they’ve created as a result. Taken on their terms, this is easily one of the most richly rewarding projects of 2022 so far.