Universal Energy sucker-punches with an 11-minute masterclass in shapeshifting disco, and Vasto's clanking delirium clinches these industrial shadow-dwellers' influence on everyone from Derrick May to Underworld. [Dec 2020, p.83]

A feast for the committed follower. [Jan 2021, p.98]

A useful document of Crazy Horse in rare, relatively subtle trio form (no Poncho). [Jan 2021, p. 101]

The pair's debut creates an inviting somnambulant soundworld. [Jan 2021, p.85]

Tina's mesmeriing pop-psych is also a fascinating conundrum. [Jan 2021, p.91]

A rare sustained tension between sex and spirituality bristles throughout. [Jan 2021, p.88]

Their contrasting flows clip together surprisingly well. [Jan 2021, p.88]

Not a single ounce of fat on the bone, Return is a road trip well worth taking. [Jan 2021, p.88]

The result delivers delightful Dapness. [Jan 2021, p.88]

The overall effect is usually on the right side of too much, the listener lifted up by Castle's wings. [Jan 2021, p.87]

The results are an impressively cohesive testament to Lambchop's interpretative skills as much as their experimental slant. [Jan 2021, p.86]

KG is no mere retread of the earlier album, Stu Mackenzie's custom-built electric baglama leading him in unexpected directions. [Jan 2021, p.86]

Power Up is one mighty curtain call, and listening to it feels a bit like playtime. [Jan 2021, p.80]

Naturally, it's a disjointed exercise, but consumed at one sitting, 5EPs also makes perfect sense, showcasing how each part contributes to the whole. [Jan 2021, p.83]

Seamus Fogarty's songs are sparse affairs with banjo, guitars, cellos and electronics framing pithy, observational lyrics. ... There's poignancy too. [Jan 2021, p.87]

Strange Lights Over Garth Mountain, Raymond's staggering second album, leaves no doubt that she is among the most vital, dynamic voices within the still-teeming solo guitar orbit. [Dec 2020, p.82]

Beautiful and potent stuff. [Oct 2020, p.89]

His albums are populated by characters, tall tales and true stories sung in that plain-dealing half-spoken voice that can bring to mind Tom Petty. ... Here we have a paean to Johnny Thunders. ... And to John The Baptist's son. ... And three separate songs about presidents. [Sep 2020, p.88]

Three long, meditative ideals of 49-note microtonal singing. [Dec 2020, p.89]

An often terrific record with unexpected arrangements, Butler's feral guitars and Davies's perfect diction. [Nov 2020, p.83]

Lets playfulness weave through her cinematic forms, as orchestral tapestries, chamber folk and electronics commune. [Dec 2020, p.89]

The resulting 12 songs return the group to their earlier sound, a chaotic bundle of charm and romance, realism and poppy experiment. [Dec 2020, p.83]

Supple rhythm section underpins Rowley's abstract lyrics facing existential ills with charisma and skill. [Dec 2020, p.89]

Proceedings occasionally veer toward earnestness, but gorgeous textures of clarinets, guitars and synthesizers keep the project bracingly alive. [Dec 2020, p.82]

The acoustic demos in this forensic reissue lay bare Tweedy's raw hurt and beguiling melodies; alternative takes of the title song and I'm Always In Love show the sturdy bones of Wilco's early alt-country ideals. [Dec 2020, p.97]

It's Kuroda's interplay with singer/trombonist Corey King, sharp riffs and lithe, streetwise solos that hold sway. [Nov 2020, p.85]

A glistening hybrid. [Dec 2020, p.87]

The songwriting revealed another unique strength: commercial hooks wedded to allegorical poetry. [Dec 2020, p.96]