Throughout, the Brothers' riotous dustbowl carnival sounds and Ian's pointed deadpan make for a consistently entertaining cocktail. [Oct 2021, p.92]

By embracing the space between, Taylor has created a meditative, magical record. [Oct 2021, p.91]

It's intimate but also voyeuristic. [Oct 2021, p.86]

It's a wilful shuffle through the space-time continuum, where powerful pearls of wisdom about memory, the future and black justice pierce the sonic murk. [Oct 2021, p.90]

It's an uncannily beautiful listening experience. [Oct 2021, p.92]

Nine wordless, shape-shifting essays. [Oct 2021, p.93]

Critically, Dark Matters evokes, rather than merely simulates, the band's hallmark quirk and strangeness, lending integrity to the ongoing endeavour. [Oct 2021, p.97]

A great summer indie pop album. [Oct 2021, p.99]

Chilled, down-home charms remind of Duckworth and early dc Basehead. [Oct 2021, p.99]

I've Been Trying to Tell You works wonderfully on many levels. Those harsh first impressions give way to something altogether more beautiful. [Oct 2021, p.94]

It's almost too strenuous in its attempts to top its predecessors, 20212's Big Inner and 2015's Fresh Blood, but once inside White's all-enveloping world, there's no space to worry too much. [Oct 2021, p.98]

The other 48 selections feel forced or too like karaoke homework. [Oct 2021, p.92]

An improvement on 2020's lightweight Pt. 1. [Oct 2021, p.99]

While personal and sexual politics were always implicit within Taylor's bovver girl workouts, her words have grown tougher and sharper. [Oct 2021, p.89]

The information exchange attains a near perfect equilibrium between sanctified melody and distress signals. [Oct 2021, p.91]

McLaughlin's inner creative fire is till burning brightly on Liberation Time. [Sep 2021, p.78]

An expansive, summery jazz-funk crossover that lives and dies on its monster grooves. [Aug 2021, p.85]

The Beach Boys vault, though, is full of Dennis tracks, and Feel Flows makes a great showcase for that Wilson's unlikely gifts, and the inconsistent strategies that bedevilled the band. [Sep 2021, p.90]

It's essentially a particularly dark MSP bravely attempting to go a bit ABBA, failing miserably but in the process creating a skewed but alluring new pop persona. ... A hit. [Oct 2021, p.97]

The playing is dappled, unostentatious, the mood often disarmingly pretty. [Jul 2021, p.85]

More moments of delicate beauty than before. [Aug 2021, p.90]

Music that is dizzying beautiful, but never precious. [Oct 2021, p.88]

City Pressure, the military-industrial complex, social injustice, ganja and plague/lockdown frustration are soundtracked by city-sized industrial noise and merciless rhythm. [Oct 2021, p.88]

The Old Fabled River deals only in wistful enchantment, with four, typically bardic, otherworldly Roberts originals augmented by traditional ballads and a brace of Norwegian hymnals, achingly emoted by saxophonist Marthe Lea. [Aug 2021, p.88]

These songs aren't quite the blast of fresh air needed after months of dreaming about new horizons, but as you'd expect from Damon And Naomi, they're a beautifully curated analogue. [Oct 2021, p.96]

Jackson is in magnificent voice throughout. [Oct 2021, p.88]

See-saws between manic joy and depressive darkness but never loses its sense of wit, grace or noise-dipped tunefulness. [Oct 2021, p.96]

The result is a warmly autumnal, subtly adventurous set. [Oct 2021, p.90]