Find A Light breaks down the distance between dexterous Southern rock and country brilliantly on songs like Best Seat In The House and Run Away From It All. If they have a weakness this time around, it's occasional lapses in quality control. [May 2018, p.91]

Panic Blooms generates fond memories of a recent past. [Jun 2018, p.89]

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

A lively set that's way above par. [Jan 2019, p.92]

The result is another madcap sonic escapade. [Dec 2018, p.87]

An album rich in melancholia, softened with orchestral arrangements and enriched by female voices, at turns wistful, as others paranoid. [Feb 2019, p.89]

Sule Skerry is partly programme music, partly good old-fashioned concept album. His approach feel rather literal at times. [Jun 2019, p.95]

This is Black Star Riders' best work yet. [Oct 2019, p.88]

Tense, rewarding, avant-garde jousting abounds. [Nov 2019, p.96]

It is a hazy path through a dusty landscape of sadness and enlightenment that never arrives at answers or certainties, but shimmers with an eternal mystery. [Dec 2019, p.90]

A meditative, deliciously low-key collection produced by Lee Townsend. [Nov 2019, p.91]

At times Little Common Twist seems to misplace its destination, but it's also warm and embracing; not so much ambient as aural amniotic fluid. [Jan 2020, p.91]

A quintessential "pocket trip" record, then, sculpted and sequenced to perfection. [Jan 2020, p.87]

Lakeman is in his element. ... McGann's narration is disappointingly flat and some of the musical settings - like the shanty Sailing Time - are underplayed; but the songs are emotive. [Mar 2020, p.88]

Occasionally, you yearn for Disclosure to take a rasp to Energy and roughen its edges, but their knack for canny hooks guarantees they won't be retiring back to Surrey any time soon. [Oct 2020, p.84]

Campbell's lyrics might not match Petty's poetry, but the immediacy, energy and spirit are all there. [May 2020, p.95]

Lavish enough for fans of Amon Duul II's headshop tribal rituals. [Jun 2021, p.90]

VWETO III occasionally struggles to transcend its origins as a collection of essentially unfinished pieces. ... More often, however, her lop-sided rhythms, offbeat electronics and uncanny sense of mood are compelling in their own right. [Jul 2021, p.82]

Hardcore fans will be sold on the passion, others may struggle. [Jul 2021, p.86]

Convocations - conceived in lockdown and isolation - represents anguish and discombobulation, without having yet reached acceptance. [Aug 2021, p.84]

Genre-curious in its sparkle and allure, and most certainly not for everyone. [Feb 2022, p.102]

Among wild wanderings, Trees Speak frequently snap back to a crisp, jazzy bassline groove, making their whole far-out adventure hard to resist. [Feb 2022, p.87]

A succession of haunting story songs. ... Closing track After The Rain, meanwhile, is a hymnal balm. Less happily, he's made a part return to his original calling as a spoken word poet. [Feb 2022, p.89]

This is a still-hungry group flexing their creative muscles. [May 2023, p.86]

Most of its layered, ornate creations and moody conjurings emerge from a deep shoegaze rabbit hole redolent of Slowdive and Lush. [Jun 2023, p.90]

The tension between philosophical lyrics and the invitingly cosmic fractals generated by the band can hit awkwardly, but this is a striking new shoot. [Jun 2023, p.95]

It's really hard not to feel the absence of David Crosby's harmonies. [Jun 2023, p.92]

Inevitably flawed yet fascinating, it's respectful without being reverent, less myth-making tribute, more robust embrace. [Aug 2023, p.81]