Baxter Dury blossomed on 2017's Prince Of Tears. ... This sixth solo outing explores further that album's blend of mechanical funk and luxuriant orchestration of female-sung choruses and character monologues. [Apr 2020, p.86]

Removed from the living artist, it may one day be hailed as a great album. [Apr 2020, p.88]

A singer-songwriter back at the peak of her powers. [Apr 2020, p.94]

Bathed in hope and spiritual substance. [Mar 2020, p.93]

Tightly wound but eminently danceable songs with an earnestness that can seem a bit po-faced. [Apr 2020, p.96]

Migraines possible; good chance of transcendence, too. [Apr 2020, p.96]

At turns comforting and disturbing. [Apr 2020, p.95]

Confusing mix of glam-influenced punk and would-be party bangers a tad disappointing. [Apr 2020, p.93]

This is Wilson's most potent release to date, its title referencing a subtle fudging of classic country tropes with more modern textures. [Apr 2020, p.93]

It's Wobble's unmistakable geometric bass patterns which anchor these 11 collaborative tracks. [Apr 2020, p.89]

Hutchings has suggested his Ancestors work is an update of the griot tradition - weaving social commentary into seemingly harmless party pieces. We Are Sent Here By History achieves more: transforming impending doom into an affirmation of life. [Apr 2020, p.92]

It doesn't all work. ... But the doo wop-in-space Hope Hell High, the football chant-as-polemic punk rock of Motherfuckers Got To Go and the widescreen desert balladry of Love Is A Mind Control prove the Deap Vally girls should experiment like this more often. [Apr 2020, p.91]

As ever, Heaton's whipsmart lyrics lurch between grumbling and lovesick, but he and Abbott bounce off each other like a couple who still relish being married. [Apr 2020, p.93]

A well-constructed, unselfconsciously retro set. [Apr 2020, p.96]

A delight. [Apr 2020, p.95]

A transcendent album, From This Place is possibly the Missouri fretboard maestro's most impressive opus yet. [Mar 2020, p.91]

Buck's guitars are supportive throughout, inspired by Haines's alternative universes. [Apr 2020, p.94]

A fine album is in here, but on this evidence, embracing the instinctive over the reflective might have been a better strategy. [Apr 2020, p.89]

Arranged with exquisite care, not a swooning backing vocal, Gram Parsons echo or Brian Eeno-influenced synthesizer out of place. [Apr 2020, p.89]

An album of unashamed emotional purgation. ... Swamp's late renascence is wonderful. [Apr 2020, p86]

James Hunter may have a new band from New York but they swing like his old one, and it's mostly business as usual here, with Hunter's new batch of songs sounding just like the old songs he's influenced by. [Apr 2020, p.94]

It's a giant leap forward for one of the most original voices around. [Mar 2020, p.84]

The best protest albums generally come bathed in their own brand of musical sunshine and Cornershop's joyous post-Brexit call to arms is no exception to the rule. [Apr 2020, p.86]

These loose, predominantly acoustic arrangements area fine fit for Malkmus's usual shtick; shaggy, ambulatory songs full of odd twists and rococo angles that seem designed to undermine pretension rather than amplify it. [Apr 2020, p.90]

Strong new jams. [Feb 2020, p.96]

A tightly zipped, anxious, often menacing trawl through personal challenges, offset by Caribbean vocals and rhythms and collaborations. [Mar 2020, p.96]

You need to pick through the later albums to find some occasional moments of brilliance. although if you unconditionally love well-executed '70s funky-soul, it's all good! [Mar 2020, p.105]

There's much to enjoy in his artistic arc. [Mar 2020, p.107]