[the Lost Brothers] are most at home in melancholy autumnal folk-lands. [Feb 2018, p.99]

With some lyrics on the utilitarian side of blunt, it lack the younger Jobson's poetic delusions, but and elegiac title track, shimmering Refugee and Kings Of The New World Order's halcyon riffola are all powerful statements worthy of the Skids legend. [Feb 2018, p.96]

The Cumbrian art-rockers go out on this crisp, thoroughly engaging high: a live in the studio, Boy King-heavy stroll through some of their big-hitters recorded at RAK in London over two days last summer. [Mar 2018, p.96]

Like the original, Twin Fantasy 2017 transports us to a unique and fully formed world, where this time the physical geography is still more affecting. [Mar 2018, p.96]

Protest and dissent rarely sounds less strident than on Widdershins, but any resistance to the dark tide is an inherently good thing. [Mar 2018, p.96]

Forget Me Not may echo Dancing In The Dark's intro, but it's bouncy energy is pure Ready Steady Go!, while the crisp, finger-poppin' stomp of If Your Prayers Don't Get To Heaven evokes gospel-tinged Motown. ... However, an ensuing sequence of stodgy ballads and grunty blue-collar rockers kill that aspiration, underscored by dreary production from Ted Hutt. [Mar 2018, p.92]

The alert and taut Always Ascending restores theband's original pop kinesis and then some. It is by far and away their most interesting offering since that debut album. [Mar 2018, p.92]

RRD's tempo is beatific, fingerpicked guitar and violin cresting sweetly, though some fervent moments provide real highlights. [Mar 2018, p.90]

An album of quite magnificent mardiness. [Mar 2018, p.94]

Throughout, Joan still sounds as bewitched, bothered and bewildered by love, a timeless sensation that transcends digital intervention. [Mar 2018, p.94]

His seventh album vibrates with fear, rage and fierce defiance. [Mar 2018, p.92]

Resolve puts her comfortably on par with neo-classical giant Nils Frahm, Max Richter and Hauschka. [Mar 2018, p.93]

Sonically never less than knowingly enormous, but concise at eight tracks, Walk Between Worlds is sure and strong. [Mar 2018, p.91]

There are moments when Craft's melodies don't punch quite so hard as his striking, road-less0trodden imagery. [Mar 2018, p.90]

Oh My smacks less of a one-off project, more of the opening chapter in a narrative which could dominate its participant's future. [Mar 2018, p.94]

An unusual yet utterly coherent balance of tenderness and euphoria, vulnerability and invention. [Mar 2018, p.96]

The lows arrive all too often. [Mar 2018, p.97]

Field Music's most ambitious album yet. ... A consummate success. [Feb 2018, p.88]

An impressive album, fulled with songs that often hark back to familiar strains but offer compensation in their lyric content. [Mar 2018, p.97]

Restraint is key here, and ichaelson's very English version of Americana is a career pinnacle. [Feb 2018, p.96]

This terrific follow-up [to 2016's Hold On] captures the sparks again, and there are plenty of them. [Mar 2018, p.97]

Their second album is a delicate collection that welcomes you back into their magical world. [Mar 2018, p.95]

If he wasn't there already, Freedom's Goblin puts Segall in the very top flight of late-'teens rock contenders. [Mar 2018, p.90]

While the incredibly kinetic South Central LA rapper's second album wins no prizes for originality, it's a relentlessly fun listen. [Mar 2018, p.93]

Vessel Of Love is her most vital work to date. [Mar 2018, p.91]

Piercing, heated, Fever Ray is taking no prisoners. [Mar 2018, p.97]

An ambitious and unclassifiable album. [Feb 2018, p.88]

An enjoyable if just occasionally patchy miscellany. [Feb 2018, p.90]