It lacks a distinctive identity. [Apr 2019, p.31]

Attempts to blend leftfield electronica, Broadway balladeering and voguish trap beats are technically impressive but stretch his minimal melodies to [the] breaking point. [Apr 2019, p.26]

Songs packed with macabre humour, melodic contortion and gruesome discord. [Mar 2019, p.27]

Her second LP as Du Blonde plays it two ways: first with unremarkable, lunging dynamics and fuzz-caked riffs, then in a leaner and more soulful style, wit nods to prog and '70s folk-pop songcraft. Tha latter is more convincing and a better fit for her great voice and brutally honest lyrics. [Mar 2019, p.27]

It's generally a thoughtful collection: stripped back so as to not stamp on the originals. [Mar 2019, p.27]

There's nothing eruptive here: effects-drenched guitars, synths and electronics conjure a hushed, hypnotic ebb and flow that's bleakly comforting if over familiar. [Mar 2019, p.34]

It's Brown's voice that holds it all together. [Mar 2019, p.24]

Production touches aren't enough to elevate a set of songs that when stripped to their skeleton are sufficient if unspectacular. [Mar 2019, p.32]

Abrasive album. ... Tracks like "Pleasure Seeker," "Oblivion" and "Power" demand the listener either sit up and take notice or run screaming for the hills. [Mar 2019, p.26]

A stripped-down set of acoustic songs sung in a voice that is sometimes overly winsome but at its best is hauntingly ethereal. [Feb 2019, p.24]

The result is endearingly scattershot. [Dec 2018, p.39]

There are moments where gusto, melody and thunderous guitar riffs meet to powerful effect but there are some tired moments to wade through to get there. [Feb 2019, p.27]

This is voluminous in length and style. [Feb 2019, p.33]

Rough-hewn thrills abound. [Jan 2019, p.21]

Veers dangerously close to tastefully understated ethno-trance wallpaper on chiming, drowsy throbbers like "Zemlya." But thankfully Edwards is too smart to be seduced by the shallow allure of pointless beauty. [Feb 2019, p.32]

A strange, untethered creation. ... But when Romano Keeps it simple, he's terrific. [Feb 2019, p.32]

A festive 10 tracks. [Feb 2019, p.29]

There's no central narrative to this anthology of psych-tinged, countrified canyon-rock. [Dec 2018, p.25]

Despite the addition of some burnished guitar licks, the results are as awful as you might expect and his one original composition, "For Love On Christmas Day," isn't much better. [Jan 2019, p.19]

There are lots of lightly retro arrangements and nods to 1960s bubblegum pop. [Jan 2019, p.22]

On Reflection can't make any grand claims to originality, but charms with its clarity and light. [Jan 2019, p.25]

He overthinks the rambling "JTR" and overstuffs the messy collage "Monkey Man."[Dec 2018, p.33]

Once a songwriter with a deft facility for catchy hooks, his melodies droop under the lethargic tempos, turning his self-deprecation into something like self-absorption. [Jan 2019, p.22]

On their fourth album, all pretense at rootsy authenticity is gone--this is machine-tooled stadium pop, with producer Paul Epworth in the Brian Eno role. [Jan 2019, p.22]

The result is akin to a John Ford film with an indie soundtrack. [Nov 2018, p.37]

There's a fair amount of Fugazi worship on display with track like the churning punk of "Ruptured Line," but the album really flies when the metal influences come to the fore. [Nov 2018, p.]

The fuzz-rock of "Just A Fool" is transformed into a clawhammer-guitar folk ballad; the punky glam of "You Get To Rome" and the space rock of "Yes To Everything" both become ragtime ditties; the heads-down rocker "All In Your Head" and the stadium-sized "No Secrets" become pretty ballads, with some lovely Joni Mitchell-ish chord changes. [Dec 2018, p.27]

The eclectically banging result is an invigorating circuit-workout through righteous rage, swinging from livid EDM beats with Steve Aoki and Rise Against's Tim McIlrath, to furious rap with Big Boi, Killer Mike and Bassnectar. [Nov 2018, p.28]