It's always good when, after 30 years as a music critic, the hairs on your arms stand on end. [Sep 2018, p.89]

Enter a floating world of the surreal, of gently uneasy listening, warped strings and distorted brass, as if Chris Montez led an Indian mariachi band. [Aug 2019, p.93]

O'Hagan has taken apart what he's known for and put it back together in an entirely fresh ways. [Jan 2020, p.89]

Spotlights the songs' grit and humanity, albeit still substantially finessed by mixmaster Bob Clearmountain. [Jan 2020, p.90]

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]

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

Only a droll stab at Dueling Banjos shades into the hokeyness that could've cursed the entire project. [Jun 2020, p.95]

Reality Tunnels finds the Bristolian beat-master reaffirming known skills while cultivating fresh ones. [Aug 2020, p.87]

It's early days yet, but Fenne Lily might just be a major talent in the making. [Oct 2020, p.89]

Travis remain curiously unrevered, but 10 Songs is fine work nonetheless. [Nov 2020, p.86]

KG is no mere retread of the earlier album, Stu Mackenzie's custom-built electric baglama leading him in unexpected directions. [Jan 2021, p.86]

It's exactly what you'd expect, but in a good way. [Feb 2021, p.83]

Some of the vocals sound like first takes, which gives them an honesty (maybe a bit too honest on opening track In the Summertime). But from here on, it's just lovely. [Aug 2021, p.82]

Music best experienced as the sun drops below the horizon. [Nov 2021, p.91]

Musca is far more than filler. Opening with the crunching sweep of two Doors, Herbert sets sail on a (wonky-ish) 4/4 course. Hypnotised is moody, throbbing house with a UK garage skip. [Nov 2021, p.91]

At its best, it harkens to long-lost, dense-sounding riff grinders such as Breaking Circus or Earth, but there's light as well as shade too and Broken Sugar positively twinkles. [Jun 2022, p.87]

Barnes's first outing in seven years offers a timely blast of healing positivity, all but impossible to resist. [Jan 2023, p.84]

Another Day To heal opens encouragingly. ... Midway through, La La Land derails, as Queen Of Spaces errs into forlorn folky picking, while Slowly On The Wheel opens with one-finger piano and voice. The Chugging Face Eraser and Baba O'Riley-ish Pockets pulls things together. [Feb 2023, p.84]

A blend of well-crafted original material alongside several covers. [Mar 2023, p.89]

Her lovers rock take of Patsy Cline's Walking After Midnight further strengthens reggae and country's fine romance, and who could have predicted that Morrissey's Everyday Is Like Sunday would sound like an out-take from the Special AKA's IN the Studio when reworked as rocksteady with woozy horns? [Jul 2023, p.82]

Beneath the Day-Glo surface, Chemtrails rage away. [Jan 2024, p.89]

This is his finest collection of melodies yet, reflecting candour, tenderness and pthos with no bare polemic to disrupt the intimate tone. [Jun 2024, p.89]

There’s nothing here to startle, just further confirmation that Cantrell remains a force to be reckoned with. [Dec 2024, p.84]

Full Moon thunders on near-relentless sub-bass (Mntanami, about her absentee father) and post-dancehall Amapiano beats, with interludes of wishy-washy synthy vulnerability - a serviceable backdrop upon which this irresistibly raunchy personality reliably shines. [Feb 2025, p.88]

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

That confiding voice retains its hushed intimacy throughout but there's a lack of the soaring melodies that distinguish her recent collaborations with Julie Fowlis and Karine Polwart. [Aug 2025, p.76]

New radiations is not without moments of ponderous stasis. Nadler still shines as a spell-weaver and mistress of moods, though. [Sep 2025, p.79]

A delightful collection of woozy, folk-tinged, hallucinogenic pop. [Sep 2025, p.83]