Far Enough takes the most exhilarating form of resistance, much more than riot grrrl's DIY aesthetic, akin to a harder-rocking Sleater Kinney with a similarly wailing centrifugal force in singer/guitarist Jenny McKechnie. [Jun 2020, p.90]

It's numinous stuff. [Jun 2020, p.95]

The album appears as a warm, welcoming pool, soaking its balms, and its messages, deep into our bones. [Jun 2020, p.84]

There are straight-ahead, stripped down, old-style blues rockers. ... Also there just the blues - slow beauties that seem to be about depression and being lost, that feel more personal than political. [Jun 2020, p.88]

Dark humour and combustive noise are proven fine bedfellows, and Flat Worms will soon have you slam-dancing as the planet burns. [May 2020, p.86]

At times it's all too much, but Christinzio knows how to burn without crashing. [May 2020, p.88]

He and his songs sound beautifully close-knit. [May 2020, p.89]

The songs on this second solo album are more substantive than those of 2017's Wintres Woma. [May 2020, p.90]

A very fine, if long-gestated, debut. [May 2020, p.93]

Slightly frustratingly, similar changeability [as 2018's Lala Belu] prevails here. [May 2020, p.86]

Best tracks are the most acid. [May 2020, p.96]

It feels both strangely timeless and oddly new. [May 2020, p.93]

A heady cultural cocktail where the Sahara meets the Rising Sun. [May 2020, p.87]

Their cover of Got Love If You Want It is a raw, gritty highlight. [Apr 2020, p.96]

The arrangements within are more ebullient and wide-ranging. ... His subjects - all character sketches of friends or chance meetings - are also multifaceted. [May 2020, p.89]

Yet even at its most downbeat and damaged, this music gleams with a steely determination to be heard. [May 2020, p.87]

Disillusion and disappointment have become fuel for creation, not self-immolation; second-guessing has been replaced by first-hand emotion. ... For the first time in a while -- that The Strokes shouldn't be gearing up for goodbye. [May 2020, p.86]

After 33 years of intuitive playing together they are able to show you their close-up sculpted technique, as if revealing their workings, and then do something so transcendent, so miraculous, that it causes you to believe in magic once again. [May 2020, p.90]

Fine follow-up. ... McBryde's charisma remains centre-stage. [May 2020, p.90]

Kushal Gaya's vocal hooks bristle with political fury as polyrhythms jostle with George Crowley and Pete Wareham's brass riffs. [May 2020, p.95]

It's a beautiful warm bath of a record, but a soporific one too, better suited for wallowing within, rather than getting you moving. [May 2020, p.90]

[If You're Dreaming] has a strong vintage feel. [May 2020, p.88]

Further confirmation, then, that this stalwart of the rave generation, with a little help from his friends, still has plenty of fire left in his belly. [May 2020. p.89]

The musical and emotional ground covered here is remarkable, evidence of an artist who can locate joy inside pain, and whose adventurous, modernist, fearful funk can be movingly expressive. [May 2020, p.88]

There's an early Daptone feel to this strong set. [May 2020, p.96]

Beautiful stuff. More, please. [Apr 2020, p.89]

The amount of recording distortion on some pieces, like on the sparse, meandering piano instrumental Last Of The Lantern Oil, can tip the balance over into ear-buzzing discomfort. [Apr 2020, p.87]

Svelte, mostly acoustic collection is so refreshing. [May 2020, p.94]

Nothing is ever explained, but ambiguity only reinforces Sorry's wonderfully slippery presence. [Apr 2020, p.95]

Showcases [singer Yukimi Nagano's] full emotional range. ... Six albums in, now, as ever, Little Dragon deserve far more attention. [May 2020, p.94]

A jittery suite of clattering protest jams, further uplifted by the ferocious interplay between trumpeter Aquiles Navarro and alto saxophonist Keir Neuringer. [May 2020, p.95]

An irresistibly raucous entree to their world. [May 2020, p.88]

With hooks as deep as heartbeats, this has the sweep of the desert dunes in it. [Apr 2020, p.93]

These 21 carefully edited electronic jams have a distinctly new age feel, glacier-sized slabs of ambience occasionally disrupted by undulating or cluttering beats. [May 2020, p.89]

A thick braid of an album, each song a bundle of strands interweaving with next. [May 2020, p.94]

Rose Golden Doorways will undoubtedly repel and attract, but its sheer force is spellbinding. [Apr 2020, p.94]

Rejoice stands tall alongside both artists' greatest work. [May 2020, p.95]

Regularly transcend mere pastiche. [Apr 2020, p.86]

A free-floating space jazz run at Joni & Mingus's Goodbye Pork Pie Hat is typical of his approachable fusion. [May 2020, p.96]

Singer Barbora Patkova's soulful charge that brings a tighter focus to a set of roiling, otherworldly jams whcih sound like Can and Funkadelic getting high on Sun Ra's unfettered jazz supply. [May 2020, p.93]

Revisits some of his most famous tunes. [May 2020, p.90]

No one said living "woke" was gonna be easy, but Thick turn the friction into furious, satisfying pop. [May 2020, p.95]

Eventually capturing both the sickly magenta beauty and unnatural creeping dread of Lovecraft's alien world. [May 2020, p.90]

Sometimes, it fits and sounds glorious. ... But on other tracks it sounds like an Aphex B-side is bleeding in from the next room. Beneath the white noise, however, Moreland is in rich form. [May 2020, p.88]

A superlative crooner with grit, soul and impeccable phrasing, James caresses and finesses every syllable of his highly literate, deeply personal songs. [Apr 2020, p.88]

Strong and loose, political and personal, Pearl Jam get the balance absolutely right. [May 2020, p.84]

Elegant and haunting as the individual tracks may be, it's difficult to remain engaged throughout 75 minutes of music with such a uniform mood. [May 2020, p.89]

What's missing? A hot-shot producer. Turbocharge their tunes with studio oomph and jiggery-pokery, and Soul Motivators could fill floors worldwide. [Feb 2020, p.90]

Baxter Dury blossomed on 2017's Prince Of Tears. ... This sixth solo outing explores further that album's blend of mechanical funk and luxuriant orchestration of female-sung choruses and character monologues. [Apr 2020, p.86]

Removed from the living artist, it may one day be hailed as a great album. [Apr 2020, p.88]

A singer-songwriter back at the peak of her powers. [Apr 2020, p.94]

Bathed in hope and spiritual substance. [Mar 2020, p.93]

Tightly wound but eminently danceable songs with an earnestness that can seem a bit po-faced. [Apr 2020, p.96]

Migraines possible; good chance of transcendence, too. [Apr 2020, p.96]

At turns comforting and disturbing. [Apr 2020, p.95]

Confusing mix of glam-influenced punk and would-be party bangers a tad disappointing. [Apr 2020, p.93]

This is Wilson's most potent release to date, its title referencing a subtle fudging of classic country tropes with more modern textures. [Apr 2020, p.93]

It's Wobble's unmistakable geometric bass patterns which anchor these 11 collaborative tracks. [Apr 2020, p.89]

Hutchings has suggested his Ancestors work is an update of the griot tradition - weaving social commentary into seemingly harmless party pieces. We Are Sent Here By History achieves more: transforming impending doom into an affirmation of life. [Apr 2020, p.92]

It doesn't all work. ... But the doo wop-in-space Hope Hell High, the football chant-as-polemic punk rock of Motherfuckers Got To Go and the widescreen desert balladry of Love Is A Mind Control prove the Deap Vally girls should experiment like this more often. [Apr 2020, p.91]

As ever, Heaton's whipsmart lyrics lurch between grumbling and lovesick, but he and Abbott bounce off each other like a couple who still relish being married. [Apr 2020, p.93]

A well-constructed, unselfconsciously retro set. [Apr 2020, p.96]

A delight. [Apr 2020, p.95]

A transcendent album, From This Place is possibly the Missouri fretboard maestro's most impressive opus yet. [Mar 2020, p.91]

Buck's guitars are supportive throughout, inspired by Haines's alternative universes. [Apr 2020, p.94]

A fine album is in here, but on this evidence, embracing the instinctive over the reflective might have been a better strategy. [Apr 2020, p.89]

Arranged with exquisite care, not a swooning backing vocal, Gram Parsons echo or Brian Eeno-influenced synthesizer out of place. [Apr 2020, p.89]

An album of unashamed emotional purgation. ... Swamp's late renascence is wonderful. [Apr 2020, p86]

James Hunter may have a new band from New York but they swing like his old one, and it's mostly business as usual here, with Hunter's new batch of songs sounding just like the old songs he's influenced by. [Apr 2020, p.94]

It's a giant leap forward for one of the most original voices around. [Mar 2020, p.84]

The best protest albums generally come bathed in their own brand of musical sunshine and Cornershop's joyous post-Brexit call to arms is no exception to the rule. [Apr 2020, p.86]

These loose, predominantly acoustic arrangements area fine fit for Malkmus's usual shtick; shaggy, ambulatory songs full of odd twists and rococo angles that seem designed to undermine pretension rather than amplify it. [Apr 2020, p.90]

Strong new jams. [Feb 2020, p.96]

A tightly zipped, anxious, often menacing trawl through personal challenges, offset by Caribbean vocals and rhythms and collaborations. [Mar 2020, p.96]

You need to pick through the later albums to find some occasional moments of brilliance. although if you unconditionally love well-executed '70s funky-soul, it's all good! [Mar 2020, p.105]

There's much to enjoy in his artistic arc. [Mar 2020, p.107]

A gimlet glare cast not downwards but right between your eyes. [Mar 2020, p.107]

[Teenage Kicks is] arguablt not even the best song on this compilation. Wednesday Week's gorgeous melody, You've Got My Number's killer riff and the haunting, fragile Julie Ocean are superb, while we can even forgive them for their Human League-baiting My Perfect Cousin. [Mar 2020, p.101]

The three October US shows, top-drawer soundboard recordings that have been around for years, are full of those supersonic instrumental flights that are so dependent on mood. [Mar 2020, p.1032]

Songs to keep returning to with no hope of ever exhausting their meaning. [Apr 2020, p.84]

Thanks to its exquisite craft, and Remy's feel for her characters, that project finds its finest expression yet in Heavy Light. [Apr 2020, p.86]

Gigi Masin bathes us in pure sunlight for 90 minutes. Emotional, but never over-wrought. [Feb 2020, p.91]

it's unashamedly full-on, Cro-Magnon stuff, but this chaos is often glorious. [Apr 2020, p.87]

He keeps the core of material such as The Nearness Of You and My Blue Heaven spare and the tone intimate. [Mar 2020, p.94]

Tastefully gauzy production elevates Indian-based KK's indie-psych pop second. [Mar 2020, p.96]

Brutally honest lyrically and deliciously more-ish in its rhythmic, electronic intensity. [Apr 2020, p.94]

In all, a cherishable tribute to the vitality of the right-on gospel group whose strides into soul still echo today. [Mar 2020, p.103]

Some of his best songs yet. [Mar 2020, p.88]

A transporting, densely layered record which retains a certain lyrical opacity. [Mar 2020, p.89]

The absence of between-song chat makes the experience unnecessarily remote. [Mar 2020, p.106]

A moonstruck Frankenstein builds percussive layers, then juxtaposes classical, opera and jazz samples in shadowy odes to the night. [Mar 2020, p.96]

The energetic groove-riding results prove utterly compelling throughout. [Mar 2020, p.91]

Highlights: Tropicalia-Afro-funk fusion Bobbie's Second World; 7th Dynamic Goo's silvery disco. [Apr 2020, p.96]

The sum total of this umpteenth solo long-player in 40 years is that the prodigious and progressive Landreth is his own man - a futuristic traditionalist. It's time that wider audiences took notice. [Apr 2020, p.88]

Indie-folk lifers tackle the Prairie Home Companion canon, also bringing their ethereal close harmonies to Kanye West. [Apr 2020, p.96]

The results are often magical, the tracks' man-versus-machine provenance never jarring, the music often utterly liquid in feel. [Apr 2020, p.95]

Snaith is increasingly confident in his own voice. [Mar 2020, p.86]

It is the older material that comes out on top. A Euphoric, feel-good collection, nonetheless. [Apr 2020, p.87]