There's so much controlled carnage to this double LP that it just flashes by. [Feb 2026, p.90]

Bailey has been constantly moving towards something truly great and Can't Take My Story Away gets her closer still. [Feb 2026, p.82]

Van's back, lending vocals to Ain't That A trip, a joyous R&B number that provides one of many highpoints on Hunter's eleventh album. [Jan 2026, p.86]

By turns numinous and spectral. [Feb 2026, p.81]

Music that's moving, beautiful and uplifting. [Feb 2026, p.83]

Keeps a glossy electropop trajectory, but there's a precarious tilt to the shoegazing rush of Do You Still Believe In Me? or the startling heartbroken lyrics of Dolphins. [Feb 2026, p.87]

An inspired, unique dramstist, at the peak of his powers. [Feb 2026, p.81]

If this is a less turbulent FWF manifestation, they're still powerful, churning perilously. [Feb 2026, p.80]

Dry Cleaning have lost none of their distinctive edge, their idiosyncratic set-up proving to be endlessly elastic, as big as they want, as small as they need, 
to capture the chaos of the world. No hidden messages here: Secret Love is a wonderful record.

There are sweet moments on The Demise Of Planet X - not least guest appearances from Aldous Harding (Elitest G.O.A.T.) and Life Without Buildings' Sue Tompkins (No Touch) - and a more delicate musical palette, but the overwhelming mood is one of weariness; with the state of the world and the tedious, endless gotchas. [Feb 2026, p.85]

If you like your teen dreams served a la Smokey Robinson And The Miracles, you'll find plenty to swoon along to here. And no nonsense. [Jan 2026, p.87]

Wish You Were Here somehow still connects. Lyrically affecting, musically adventurous, but always accessible, it's as relevant now as it was a half a century ago. [Jan 2026, p.92]

Inner Day's voyage around the edges of the avant universe might be challenging, but it can also be mesmerising. [Dec 2025, p.83]

Her songwriting pen has never been sharper. [Jan 2026, p.83]

Live God does what the best live albums do: capturing both the thrills and spills of the performance and the audience's rapturous response to it. [Feb 2026, p.82]

The fistful of Memento Mori tracks - especially the slow building Speak To Me - confirm what a strong, brooding album it was, but they're rattled off early in the set, leaving a glorious cavalcade of (mostly) hits for the second half. [Feb 2026, p.81]

Frequently gorgeous collection of slow-motion jazz standards. [Feb 2026, p.87]

Not only because of Ellis's extraordinary vocal command and gasp of dynamics but because his songs manage to be both mysteriously personal and yet immediately emotionally resonant. [Feb 2026, p.80]

It'll leave you hoping De La never stop. [Feb 2026, p.80]

The packed tracklist suggests perfectly imperfect nuggets. ... The haunted, magical lies of Gonna Learn Too Crawl, meanwhile, invite close listening to his more muted, intimate moments, too. [Feb 2026, p.81]

Hatchie is moving into interesting territory. [Feb 2026, p.84]

A title that came to John Darnielle in a dream vividly interpreted as the score for a musical. [Feb 2026, p.90]

Absorbing follow-up. [Feb 2026, p.90]

How much of ...Jazz Age was completed before Bailey's death is unclear, but his final at is one of his greatest. [Jan 2026, p.84]

This is an outfit broadening its musical horizon as the record spins. [Jan 2026, p.88]

A clearer-headed Goulden has given eight of those under-loved songs the garage verité treatment they needed all along for England Screaming. [Dec 2025, p.82]

Zajac's gnomic lyrics make the direct bits hit that bit harder, and if there are swamp-fuzz debts to J.J. Harvey, it is still a powerful piece of personal witness-bearing. [Jan 2026, p.85]

Otherworldly as it is ineffably uplifting. [Jan 2026, p.82]