The sprawl of her vision is impressive; the mystic excellence of its execution suggests she should make a habit of such recordings. [Sep 2020, p.88]

A pair of Bartz originals are frenetically reworked, while the veteran's scything sax on new Harlem To Haarlem steals the show. [Jul 2020, p.88]

A playful digital makeover for some vintage noir vibes. [Oct 2020, p.94]

In all, an unexpected and all-encompassing feast. [Feb 2021, p.98]

This never feels thrown-together, which is some achievement. Instead, the album feels like one to spend ample amounts of time with as you travel its far-flung corners as it reaches for the stars. [Feb 2021, p.84]

It's exactly what you'd expect, but in a good way. [Feb 2021, p.83]

Here he sings, using multiple guitar tunings for the complex arrangements, and his voice is variously a warm croon, sometimes darker but mostly pure and tender. [Feb 2021, p.82]

As distinctively fabulous as anything they have released in nearly 40 years. [Jan 2021, p.85]

The LP is a little crammed. [Nov 2020, p.82]

A synth-heavy, sci-fi opus that hits its celestial climax on 10-minute standout Space Oddity. [Dec 2020, p.89]

It's McCraven's gift to integrate radical individuals into his inclusive sound design; exuberant groupthink in action. [Nov 2020, p.84]

Mazurek's rare talent for sculpting and reshaping space remains blissfully intact. [Dec 2020, p.85]

Linthicum's guitar adds texture and twang, as the interplay between the trio delivers their Plastic Bouquet close to country perfection. [Jan 2021, p.86]

It makes for some oddly sublime listening. [Jan 2021, p.85]

With Tek on growly vocals, Two To One feels closer to Birdman's hypermelodic chug than any Stooges explosion. [Nov 2020, p.88]

This is very much a thoughtful, interior record, with its own distinct character and an unsettling quality that gets under your skin. [Jan 2021, p.91]

The Sunday Valley songs survive the transition best, particularly All The Pretty Colours, but the psychonaut jiber-jabber from 2014's Metamodern Sounds In Country Music album comes a strong second. [Jan 2021, p.86]

Sonic hexes that feel simultaneously cursed and curative. [Oct 2020, p.91]

Poised somewhere between rootless anger and quiet revolution. [Dec 2020, p.87]

Lovely instrumental set. [Dec 2020, p.89]

Many of these 12 songs, eight of them originals, tend towards the reflective. [Jan 2021, p.90]

Campbell's lyrics might not match Petty's poetry, but the immediacy, energy and spirit are all there. [May 2020, p.95]

It occasionally drifts away but with a subtle pillowy beat or piano, Brun holds it together beautifully. [Jan 2021, p.85]

At each stop on the tube map, much yobbo-chorus fun ensues. [Jan 2021, p.86]

Just like McCartneys I and II, III is a confounding cocktail of genius and misfires. [Jan 2021, p.82]

British cellist and Radiohead collaborator has created something darker but much more impressive [than 2018's Shelley's On Zann-La]. [Dec 2020, p.87]

Corgan's floatier tunes and chocolate-box lyrics actually suit this sound palette well, but, as so often in pop - and Corgan's - history, a 10-track single LP would've nailed it better. [Jan 2021, p.86]

This is memorable music for exceptional times. [Nov 2020, p.89]