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

Moves from a first LP of monumental pinguid hypo-groovers to a second of fried-amp creepy-crawl sludge and crude-oil ghost harmonics. [Dec 2021, p.86]

As with all such improvised projects, Gong Splat is as much about the journey as the destination, but there's little meandering to Dwyer's questing. [Feb 2022, p.87]

A liberating 73-minute sprawl, constantly blurring the lines between euphony and cacophony. [Dec 2021, p.89]

These 11 songs sound like they've been here forever. [Jan 2022, p.82]

Can's high-wire spontaneous creation sustains over 90 mind-bending minutes at the highest pitch. [Jan 2022, p.101]

Subtitled "Ghana Music Power House", a fitting epitaph for Dick Essilfie-Bondize. ... Highlight: the blissful whirl Yeaba by CK Mann's Carousel. [Feb 2022, p.103]

The 50th-anniversary edition affirms the underrated triumph in Cahoots. [Feb 2022, p.97]

The more gothic the song (Girl In Amber; Red Right Hand) the better the interpretation. [Feb 2022, p.92]

He digs deep on guileless rock and soul with bold flourishes, ala Lowell George or Randy Newman. [Feb 2022, p.92]

The highs of Fade, Queens and Better Love variously recall Arcade Fire and The Flaming Lips in euphoria mode, while the lows plumb eerie depths akin to Big Star's Third. [Feb 2022, p.89]

There are moments where the charts could bear being much edgier, and the guest spots are variable. ... In the midst of it, Weller himself sails regally on, in fine-grained voice, and the songs are happily, bomb(ast)-proof. [Feb 2022, p.87]

He cameos his way through an album of star-studded but largely by-numbers major label rap/R&B without breaking sweat. Yet jewels lurk amid the imitation pearls. [Feb 2022, p.82]

A reminder that Green Day's songwriting is far more nuanced than they're often given credit for. [Feb 2022, p.96]

This is the sound of 19 different keyboards imagining a parallel world where the test record in every '70s hi-fi home was Wendy C micro-Mooging her way through the Sun ra spaceways. The combination highlights the innocence and beauty of both styles, like forgotten '70s TV themes soundtracking scientific experiments or lonely IBM computers hymning their own obsolescence. [Jan 2022, p.86]

Her best songs - cinematic anthem Lost Woman's Prayer and highly charged Every Day In Faith - sound like well-established country classics. [Jan 2022, p.89]

For all its neo-classical leanings, Frahm's music engages emotion as much as intellect, these sketches and fragments offering a meditative respite from a world far more chaotic than this music. [Jan 2022, p.83]

A sturdy enough vehicle for Young's polemics, Crazy Horse are an even stronger conduit for the metaphysics of their union. ... But when you want it dark, no one does dark like Neil Young and Crazy Horse. [Jan 2022, p.80]

Drily recorded and subtle to a fault. in places, Island Of Noise becomes so evanescent it threatens to disappear altogether. [Dec 2021, p.92]

Skirls of noise are layered like mille-feuille, bass drops hit with the muscular impact of a piledriver, and a cloud hangs heavy over the entirety of proceedings. [Jan 2022, p.87]

Caravan sound reinvigorated and energised here on their best album in, let's say, quite some time. [Nov 2021, p.93]

Immersive and entrancing. [Jan 2022, p.90]

It's a daunting but ultimately rewarding listen. [Jan 2022, p.92]

It routinely achieves a perfect fusion of forma nd content. [Dec 2021, p.87]

[Body/Erase's] opening six minutes resemble an accidental recording made inside an overcoat pocket before mediated snatches of feedback further hint towards this maverick tape manipulator's dark art. [Jan 2022, p.82]

It's a vivid glimpse of a phenomenon on the cusp of mega-fame. [Jan 2022, p.100]

A beguiling outing, cinematic in scope and ambition. [Jan 2022, p.86]

The Bridge is Sting at his most-Sting like. [Jan 2022, p.82]