At their best, the band conjures a delicious mix of slippery funk and soaring horns, a feelgood soundtrack to roaring down the freeway--or pootling to the off-licence. [Jul 2016, p.90]

Expansive and coherent, yet always subterranean and claustrophobic, this is easily Fearless's finest hour. [Aug 2016, p.94]

Fingers Crossed marks another welcome return. [Oct 2016, p.98]

Awash in trademark snaky overdrive, heavy sustain and controlled feedback, this is a big, rich work of buzzy acid-blues melodicism, the unique sound of a guitar virtuoso sketching wild patterns for late-night journeying. [Dec 2016, p.94]

More a growler than a singer, Ayisoba plugs in and lets rip from the start, his heavily rhythmic songs wasting no time on subtlety, his band driving the trance sounds home. [Jul 2017, p.91]

A storyteller in the grand tradition, with the instrumental skills and a crack band. These songs tell her story, of a hard-lived life, of love won then lost. [Aug 2017, p.

Claustrophobic ambient, minimal techno and orchestral themes for waiting for the axe to fall. 100 per cent Laibach. [Sep 2017, p.96]

No 11-minute epics this time, but there are two stand-outs: Neil Young-esque Cumberland Gap, and Airplane, as hypnotic and moving as anything on The Harrow & The Harvest. [Sep 2017, p.92]

It's a long time since Kelly drank at this well, and Life Is Fine is a deep, deep draft. [Sep 2017, p.90]

Everywhere Bourne's judicious minimalism proves compelling. [Sep 2017, p.89]

Peppered with succinct instrumentals, Three/Three switches styles with impunity, smudging the lines between old and new. [Mar 2018, p.93]

Goat Girl's vision is as unique as an oily fingerprint, their confidence dizzying, and richly justified. [May 2018, p.90]

So joyful, so tender, so warmly anthemic, its vintage moves are timeless, and irresistible. [Jul 2018, p.89]

While Maltese's playfulness extends to queasily imagining Theresa May and Donald Trump in flagrante as a nuclear holocaust rages on As The World Caves In, both Less and Less and doomy ballad Mortals prove he can deliver without relying on irony as a crutch. [Aug 2018, p.89]

Tropical Fuck Storm's wonky rock discordance is not quite as provocative as they perhaps think. Nevertheless, there's still plenty to be enjoyed here. [Feb 2019, p.90]

A good 'un, finely balancing his roots with his modernism. [Mar 2019, p.92]

It's an unlikely explosion of X-Ray Spex, The Raincoats, Oliver Mtukudzi and Stella Chiweshe, but it's a winning one. [Aug 2019, p.97]

The moving Electric Shock incorporates joyous synths and Headcase is berserk thrash-pop brilliance. Dizzying closer, Mortals, meanwhile, might have been a Top 10 hit in the early '80s. [Oct 2019, p.86]

Promising debut. [Jan 2020, p.92]

As in life, variety spices this highly entertaining tribute compilation. One for the stocking and beyond. [Jan 2020, p.86

Hey Rose is a bright, infectious opener, but elsewhere Little offers darker and more reflective material. [Mar 2020, p.92]

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]

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

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

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

If you enjoy a record that can gently coax a cathartic tear or two, Monovision fits the bill. [Aug 2020, p.88]

There's nothing arch about Heavy Nights, only the sound of these gorgeously coiffured tunes. [Aug 2020, p.92]

Penn returns with a rare album, mightily played and poignantly sung. [Oct 2020, p.86]