Gay's treacly voice and keening cornet pierce the static on another initially oblique musical jigsaw, whose pieces begin to fit after a few listens. [Aug 2025, p.85]

It sounds so authentically mid-to-late 1960s that Dear Patti - a song about missing an opportunity to play on the same festival bill as Smith - could almost be a lightly warped vinyl pressing from the era. [Aug 2025, p.76]

Singing with a sweet weariness, Kline can seem bemused by her melancholia, her resigned acceptance given an appealing warmth by a band whose gentle sway lends her pop miniatures depth. [Aug 2025, p.78]

This is college rock meant to be blasted over the radio, a record as vigorous as it is joyous. [Jul 2025, p.87]

Do It Afraid doesn't sound quite as home-made and fingerprint-smudged as Bey's lo-fi previous recordings, there's still no-one who sounds like her, no-one chronicling the agony and ecstasy with her unguarded and resonant vision. [Aug 2025, p.81]

[Inyo] As a standalone release, like SOPS [Streets Of Philadelphia Sessions] and LA Garage Sessions '83, this would rank among Springsteen's best. [Aug 2025, p.88]

They might be joyful adventures in the material world, but Matmos have a gift for hinting at something just beyond it. [Aug 2025, p.80]

In all, a gloriously imperfect storm. [Aug 2025, p.79]

Focusing in the songwriting, at its best the album recalls Gene Clark (Outsmarted), folksy Led Zeppelin (All God Did and Make You Happy) and even the very best of his father (the title track). [Aug 2025, p.77]

Impassioned, ambitious and accomplished. [Aug 2025, p.82]

Has a[n] unhurried Southern swing that pulls like an undertow against the emotional freight of confessional songs like Solitaire and Nature's Child. [Aug 2025, p.82]

Yildirim's group put the focus on melody, instrumental prowess and the melancholy in her voice. [Aug 2025, p.83]

A challenging yet rewarding listen. [Aug 2025, p.85]

Hymnal flows like diaphanous silk, the Berlin-based artist's otherworldly vocals stitching a sensuous golden thread throughout. [Aug 2025, p.85]

Together, Holden & Zimpel deliver something restorative and transcendental. [Aug 2025, p.80]

The songs often begin like standards then vanish beneath noise creeping in from the sides. .... Before the music returns to the foreground, triumphant. [Aug 2025, p.83]

Ripped + Torn attests to the sophistication of their songwriting with this brutalist form. [Aug 2025, p.80]

I Quit subtly pushes their boundaries. [Aug 2025, p.80]

Perhaps the most uncomplicated and joyous of them all. [Jul 2025, p.80]

While its parent album's themes of grief, ageing and mortality don't naturally transfer themselves to the dancefloor, it's often that juxtaposition that makes these reworkings so effective. [Jul 2024, p.78]

As always, with such projects, Goddess flies or falls on what these collaborators bring to the table, but the material here is as strong as it is varied. [Jul 2025, p.84]

Like all tribute albums it's a mixed bag. [Jul 2025, p.92]

This may be the best album of their 50-plus years together. Bonkers, yes, but quite brilliant. [Jul 2025, p.84]

Breathless, and breathtaking. [Jul 2025, p.86]

Talkin To The Trees is one of these simple pleasures, a port in the storm in these troubled times. [Jul 2025, p.83]

A dense, cosmic country, limber astro-funk and psychedelic pop record, it might be KGATLW's finest to date. [Jul 2025, p.80]

What might be Morrison's best album since 1991’s Hymns To The Silence. [Jul 2025, p.88]

Eno has rarely sounded so luminous and wistful, evoking alongside Wolfe a desert sunset that makes you excited to be alive but sad to have only so long left. [Jul 2025, p.83]