These former young lions are well on their way to becoming venerated old masters. [Nov 2022, p.91]

Vieux is on fine form, but it's yet more evidence that the Texans are one of the sharpest groups around. [Oct 2022, p.84]

This harder edge suggests a long, bounteous road into the future. [Nov 2022, p.93]

Two Sisters is arguably Davachi's finest work to date. [Nov 2022, p.87]

These four sidelong pieces, buttressed by a trio of percussive friends, are gentle journeys into the great beyond. [Nov 2022, p.87]

The inventiveness on display is undeniably impressive, but the process sometimes hides a little too much of the artist behind it. [Nov 2022, p.86]

A massive step away from his band's sound and more towards that of his friend and touring partner Nathaniel Rateliff. No one could dismiss Mumford as a lightweight folk tourist after this. [Nov 2022, p.86]

A continuous mix of hedonism, virtuosity, scholarship and, as one of her disco antecedents would have it, Good Times. [Nov 2022, p.84]

Music ripe for reappraisal. [Nov 2022, p.98]

They remain a magical band still searching for a commensurate album, arriving at a record whose thrills are real but fleeting. [Nov 2022, p.92]

Where his breakthrough LPS deftly shaped improvisations into compositions, In These Times reverses the trick - adding textural depth and layer upon layer of intrigue to McCraven's emotionally-charged meditations on life and identity. [Oct 2022, p.80]

Over 50 years on, it remains a remarkable achievement, not just for its ambition but its execution. [Nov 2022, p.96]

With Willie, his son Lukas's band and Neville helping out elsewhere, there is audiable love in the room. Three final, reflective and intimately presented Rebennack originals shin, but best of all, perhaps, is his take on The Traveling Wilburys' End Of The Line.[Oct 2022, p.90]

This excellently curated three-disc set uncovers a selection of previously unreleased outtakes. [Oct 2022, p.102]

A few tracks disappoint; but there's lusty Fever Forever and graceful Beating On The Outside, which could be Roseanne cash. [Oct 2022, p.90]

Balances past and future with stylish precision on uplifting fourth LP. [Oct 2022, p.92]

Combs's developmental arc as a songwriter continues to soar, and this deep, deep reflection suits him to a tee. [Sep 2022, p.93]

Anderson's lyrics have rarely sounded more transparent. ... Autofiction builds its own emotional momentum as Suede, once again, write new chapters of their story. [Oct 2022, p.88]

A far cry from the murky jazz-metal wig-outs of yore, TMV is a triumph of melody, smooth instrumentation and soul. [Oct 2022, p.82]

Jones manages to transform these sad notes of memoir into glistening maps for moving forward. There is an optimism and experimentation in Jones's playing that is simultaneously uplifting and beguiling. [Aug 2022, p.90]

Each note feels laser cut, accompanied by the bellowing bass keys that have long characterised Geist's work. [Oct 2022, p.87]

The vigorous, often zippy arrangements finessed at guitarist Jonathan Pearce's Auckland home studio offer chipper contrast to the subject matter, Stokes a thoughtful, knowing presence. [Oct 2022, p.89]

The stories collected on Death Cab For Cutie's tenth album are rich in both detail and substance, with solidary lines that can unravel you. [Oct 2022, p.82]

How Do You Burn? finds the group on vintage form throughout. [Oct 2022, p.82]

More coherent than some rejigged castoffs ought to be. [Oct 2022, p.84]

The arrangements sound less finessed, less "performed" and more file-shared this time out, and you sense Patient Number 9 has known corrective surgery. The great man's ongoing rage against the dying of the light still as its triumphs, though. [Oct 2022, p.85]

Crackdown is fuzzy but focused and shows the blues' future is in capable hands. [Oct 2022, p.86]

The 12 songs making up their self-titled first album, though, are broad in scope and full of individual flourishes. [Oct 2022, p.89]