Stygian Waves has a pleasing surety of direction. [Jun 2025, p.84]

The result is a record so euphoric and emotionally direct that understanding the words is not a prerequisite. [Jun 2025, p.86]

An album for banjo/fiddle fans and music history buffs. [May 2025, p.84]

The results are as dreamy and swirling as Clouds Taste Metallic-era Flaming Lips, with Smith's unworldly vocals floating over the top. [May 2025, p.86]

What might be his [Zac Condon's] most beautiful record to date, particularly the instrumental numbers. [May 2025, p.88]

More a shiny recalibration of TVOTR's high-density art rock than a radical restart, especially of their more electronic, funky and pop-facing side. [May 2025, p.90]

A gentle, spartan album overflowing with straight-forward songs and harmony vocals, which evoke Emmylou Harris as much as Margo Price. [May 2025, p.87]

A radiant light cutting through the gloom, illuminating icy drone, crepuscular ambient and reverb-heavy beatless trips. [May 2025, p.91]

His voice is magnificent, the songs simple and moving. .... Wonderful. [May 2025, p.84]

Tribal, jazzy, at times doom-laden, After The Flood is undoubtedly the darkest moment in Kuepper's long and storied career. [May 2025, p.89]

Heroic in its scope and shifting moods, it's more performance piece than repeated listen. [May 2025, p.93]

The title track, inspired by views of County Antrim's scenic Rathin Island, is an exercise in crepuscular melancholy that inexorably yields to uplifting chordal beauty - shafts of sunlight dispelling the Gloom. The four tracks that comprise The Liquid Hour, meanwhile, evince Tiersen's skill as an electronic orchestrator. [May 2025, p.91]

Whether it's the Damon Albarn-embellished Afro-pop of Pure Love or Buschtaxi's wonky take on reggaeton, delightful weirdness seeps from every pore. [May 2025, p.91]

His retro-pop stylings are just as keenly observed and affable. [May 2025, p.93]

The hit rate is high, and Mike Scott is clearly having fun cutting himself free from The Waterboys' past, and playing fast and loose - much like the mercurial subject of this album. [May 2025, p.88]

What separates this album from the 14 he's made before is the involvement of Adam Granduciel, who produces luminously, plays guitar, synths and more, and enlists his bandmates for much of the remaining instrumentation. [May 2025, p.87]

Her alternately husky and tremulous Dolly Parton timbre weaves through a yacht rock/mid-'80s Fleetwood Mac hybrid (Spirit), a Eurovision-worthy almost power-ballad (Right Now) and the quasi-disco, gospel-edged shuffler Baby. [Apr 2025, p.80]

Enthralling fever dream of an album. [Apr 2025, p.82]

On all fronts, a nourishing listen. [May 2025, p.86]

A career highlight for Carlile and a rejuvenation for John. [Apr 2025, p.79]

End Beginnings can fill rooms - but is equally devastating on headphones. [May 2025, p.91]

Times feels like a valedictory vista - across time, money, sex and space travel. [May 2025, p.91]

What's certainly clear is that this spin-the-bottle project has legs, its relaxed meeting of minds a mellifluous triple-threat. [May 2025, p.84]

There's less reverb this time, but it all sounds great, befitting a set of excellent songs. [May 2025, p.85]

Forever Howlong is a remarkably unified - and gloriously intriguing - piece of work. [May 2025, p.84]

Barratt’s plummy texts present fragmentary narratives aquiver with unresolved tension and hyperreal detail. Her compadre is talking them up as In Every Dream Home A Heartache rebooted, but Loose Talk is surely but an intriguing distraction compared to that pop-cultural landmark. [Apr 2025, p.79]

A walk on the wild side, it turns out, that's unleashed a freewheeling new strength. [May 2025, p.92]

It's a record where everything escalates quickly - proof Snapped Ankles know exactly how to read the room. [May 2025, p.91]