This exhaustive reissue includes his [Bob Stinson] final contributions, though the real gold comes in their studio sessions with Jim Dickinson. [Nov 2020, p.95]

Her songs are beautifully, tentatively constructed, the arch quirkiness of her early albums now replaced by the lush writing of songs. [Nov 2020, p.88]

Here across 11 instrumentals, it's a totally entrancing journey as grooves are saturated by horn swells, eerie organ, bad-trip backwards guitars and drum breaks ready for sampling. [Nov 2020, p.83]

There's a Paul Simon acuity to Up With The Jones, a look at living beyond your means, going bust and being free. Wisdom Of The World steps right out of line, a feedbacky Hendrix-style howl that resolves into mellow catharsis. [Nov 2020, p.89]

Travis remain curiously unrevered, but 10 Songs is fine work nonetheless. [Nov 2020, p.86]

A lower case delight. [Nov 2020, p.88]

Despite no huge leaps forward sonically, there are some fantastic scenes set to song. [Nov 2020, p.83]

Their finest since 2010's Destroyer Of The Void - sees them concentrating on what they do best: songs that sound like The Beatles at Big Pink; songs that sound like Dylan gone power-pop. [Oct 2020, p.93]

Pare things back to an insistent Banshees-like boom and groove. [Nov 2020, p.90]

The fabulous final versions of these songs often haven't travelled far from their rougher cuts, possibly because Harvey's voice, matured into a sumptuous growl, anchors the mood in enough grandeur. [Nov 2020, p.94]

Prolonged exposure to this scattershot approach can be exhausting. In smaller chunks, however, Free Humans is exhilarating, and unpredictably so. [Nov 2020, p.89]

A compelling, grimy darkness ripples throughout. [Nov 2020, p.82]

The follow-up packs a whole heap more precision ramalama. ... Top class. [Nov 2020, p.86]

If all of this sounds heavy gong, the soul and country moves and comparative lightness of the music throughout help to illuminate the darkness. [Nov 2020, p.78]

This solo instrumental album feels lighter in gates-of-doom atmosphere than previous work, but even so, whispers and echoes start to bounce off this record's walls, promising revelations at every turn. [Nov 2020, p.86]

In all, more a series of disconnected building blocks than a cohesive album. [Nov 20, p.89]

New York is one of Reed's strongest solo albums, with its tight focus, impassioned lyrics and spare, almost punky music. This is a deserved reissue, but the extras - a complete, energetic live rendition of the record from 1989, and some outtakes including he unissued The Room - are for fans only. [Nov 2020, p.92]

An immersive trip, if not one to take that often. Smith, though, is in her element. [Oct 2020, p.89]

An epic ride. [Oct 2020, p.87]

A confidently tuneful if nostalgic set. [Aug 2020, p.87]

ACR Loco lives up to its title. [Nov 2020, p.83]

Melodic snap and guileless sentiments. [Nov 2020, p.90]

In all, a very promising debut. [Nov 2020, p.90]

His wistful songs impart wisdom quietly, but on All In My Sleep gloriously lets rip. [Nov 2020, p.90]

Both beguiling and frustrating, The Ascension is complex, bold and oddly lovable. [Nov 2020, p.89]

We Are Chaos thrives when Manson ditches his horrorcore shtick and actually emotes. [Nov 2020, p.80]

Relying on her exquisitely malleable voice, slickly inventive production tics, and winning vocal support from south London's Sampha and Tanzania's Diamond Platnumz, among others. [Nov 2020, p.80]

There may be a couple too many mid-tempo chugs among Phantom Birds' 13 tracks, but Berry has a knack for lyrics that pick away at self-doubt and brave public faces. [Nov 2020, p.86]