Tastefully arranged, high-spec country-folk introspection. [Aug 2018, p.96]

Big God runs up and down a subtler emotional scale, while the heartfelt Hunger emphasises Welch's admirable desire to connect. Yet High As Hope often feels like The Greatest Showman for people of drinking age, This Is Me for art students--an affirmation, not a challenge. [Aug 2018, p.88]

Vanished Gardens is ultimately an uplifting and deeply satisfying record, due mostly to Lloyd's ethereal saxophone, which complements Williams beautifully. [Aug 2018, p.95]

As with Daptone's soul projects, the emphasis is on authenticity and integrity and the result is spot-on. [Jun 2018, p.94]

This album was submitted to Radio 1 in lieu of a mix, and in many ways it works better when considered on those terms. Because lots of the tracks have a similar vibe they could blend in perfectly well with each other, and it’s a shame that they don’t overlap at any point as this could have improved the overall experience. However, the album is still immensely enjoyable and generously rewards repeat listens.

There are some hammy moments on Americana Act II, but Davies' status as one of pop's great storytellers endures. [Aug 2018, p.92]

HML offset the filthy turbo riffage with moody atmospherics and surprise left-turns. [Aug 2018, p.94]

More quirks and rough edges would have added tot he thrill, but this is nonetheless a heart-warming set from a cultural treasure. [Aug 2018, p.88]

Not a bad track here, but extra points to The Youngbloods' Get Together and excellent Woody Guthrie's Deportee. [Aug 2018, p.93]

It's a record full of fabulous intros. [Aug 2018, p.100]

A debut proving the universal emotional weight in teenage preoccupation with romance. One to watch. [Aug 2018, p.96]

Sweet, but you couldn't eat a whole one. [Aug 2018, p.96]

The pace occasionally saunters, but this is an ultimately positive exercise in the group's titular "reflection and response." [Aug 2018, p.95]

Big, beautiful new record. [Aug 2018, p.94]

Providence Canyon is one of those brilliantly timeless albums that could have been lost in someone's dusty attic for decades. [Aug 2018, p.93]

Daytona stands loud and proud among Pusha T's best work. [Aug 2018, p.91]

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]

A beautifully honed vision of an often-harsh landscape. [Aug 2018, p.89]

This is a record that manages to feel both trapped and rootless. [Aug 2018, p.90]

Inspired stuff, though its slightness feels like a tease, and leaves us hungry for more. [Aug 2018, p.88]

There is a levity to Uniform Distortion that differentiates it from all James's previous work. Indeed, work is the last thing it resembles. [Aug 2018, p.86]

If the circus-field antics are superseded by darker, sleeker dance-floor shapes, it remains a volatile, persistently disconcerting record. [Jul 2018, p.93]

A series of near-overwhelming musical epiphanies. [Jul 2018, p.94]

Just when it seems it's an invitation to drift away, Kazuashita sags the attention, demands vigilance; a record of the world, rather than out of it. [Jul 2018, p.95]

An edgy outing vividly redolent of downtown Manhattan--as was--this composed studio transition keeps OC's sawn-off edges intact. [Jul 2018, p.94]

This treads similar terrain [to 2016's Last Days Of Oakland], burrowing into Delta blues, weaving in elements of Leadbelly, Prince-style funk and hip-hop loops. [Jul 2018, p.96]

Parish underscores his composing skills wit these uneasy instrumentals and tight-wound songs. [Jul 2018, p.98]

Mambo Cosmico is largely a carnival of delights. [May 2018, p.95]