A sensual, hallucinatory delight. [Jan 2022, p.86]

Georgia Blue's diversity of Georgia sounds sits well with its campaign for inclusivity. [Jan 2022, p.86]

The sixth full-length is a more modest affair, but also one of their finest. [Nov 2021, p.88]

The finest track is Lukas's high tenor take on George Harrison's All Things Must Pass, a hymn to wisdom and humility its timelessness reinforced as a country song. [Jan 2022, p.82]

Makaya McCraven's alchemical abilities and subliminal technical savvy offer both a sensitive update of the Blue Note label's depth-charged catalogue and a welcome pathfinder for the uninitiated. [Jan 2022, p.83]

A collaboration where each sulphurous element perfectly complements the others. [Jan 2022, p.90]

Roots-rock Zelig with a punk past, the New Yorker's double long-player has Roots Rock and Radical discs. [Nov 2021, p.94]

The remarkably unhurried, hermetic vibe of her intimate chamber-folk remains unchanged. [Jan 2022, p.89]

Out There, but inclusive too. [Jan 2022, p.89]

Garvey's lyricism is elevated by the subtle complexity of the music, clarinets, choral voices and churchy keyboards whispering through the vents of these sons, causing a quiet stir. [Dec 2021, p.86]

Things could have easily slipped into a kitsch pastiche by this stage, yet La Luz continue to find fresh avenues to explore. [Jan 2022, p.85]

While there's nothing here that immediately screams to be considered in the front rank of their input, the more you listen, the more it feels like being reunited with some long-lost, missing-presumed-dead relatives. ... Voyage is just as good as you expect. [Jan 2022, p.84]

Imposter, if not essential, always ring true. [Jan 2022, p.83]

A lyrically strong album. [Jan 2022, p.82]

The formula still works a treat. [Dec 2021, p.86]

It's the way these sessions are gracefully processed into digitalia that makes the whole thing so cohesive. [Dec 2021 p.87]

Grand, unsettling, and a fitting finale that propels The Upsetter to a higher plain. [Dec 2021, p.91]

His solos still dazzle and the riff to Notches could move mountains, but too much of Time Clocks suggests Bonamassa by numbers. [Dec 2021, p.91]

Ultimately, it's the push and pull between Duncan Bellamy's mantric hang-drums and Jack Wyllie's floating sax lines that ensure these widescreen creations feel so vividly full of life. [Dec 2021, p.89]

An auspicious new singer-songwriter, not afraid to broaden her Horizons. [Dec 2021, p.90]

Ian Devaney's tremulous tones and Michael Sue-Poi's melodic bass lines cutting deep on heartbroken ballads. [Dec 2021, p.94]

Idles are finding new directions home: the hallmark of a great band. [Dec 2021, p.85]

It's music that's soothing as transportive. [Dec 2021, p.87]

Blom's buoyant indie-rock - a perfect vehicle for the everyday anxieties that power her songs - quickly proves hard to resist. [Nov 2021, p.84]

May prove to be one of the most beautiful, tangentially produced artefacts of our strange and uncertain times. [Dec 2021, p.82]

Shadowy, masterful set. [Dec 2021, p.91]

For a record about captive states - isolation, anxiety, romantic hope - Things Take Time, Take Time knows how to move. [Dec 2021, p.85]

With its poetic allusions to loss and loneliness, will resonate with many who have felt the same. [Dec 2021, p.90]