Vol. 1 here is mellow, introspective and rootsy. [Nov 2017, p.103]

Fox spins electro-acoustic polyrhythmic patterns and grooves of a deep-space spirituality. [Oct 2017, p.98]

Tricky effectively goes missing as sultry vocal proxies Avalon Lurks, Mina Rose and Terra Lopez takes the weight, before beautifully briny closer When We Die, with original foil Martina Topley-Bird, reminds us of his peculiar strengths. [Oct 2017, p.94]

Each song struggles to reach the three-minute mark, and are all the more enjoyable for it. [Aug 2017, p.97]

Thrice Woven stirs in Norse and Gaelic legend into a bewitching barrage of arboreal-metal fury and black-winged flight, somewhere between early Darkthrone and Godspeed You! Black Emperor. [Oct 2017, p.93]

A desire to keep old traditions alive while redefining them for the 21st century drive Son Little aka Aaron Livingston, and with his excellent second album, he's achieved that. [Oct 2017, p.95]

New material like See What Love Did To Me sits well alongside these [four songs from 1967's New Masters album]. [Oct 2017, p.91]

The gauzy seductive songs feel like euphoric conjuring, chinks in the doors of perceptions that reveal another hidden capital, a misty tapestry of late-night idylls, laced with a rapturous melancholy magic. [Oct 2017, p.91]

Follow Clementine's muse, and the pay-off is huge. [Oct 2017, p.91]

Heavy matter, but eminently danceable, too, thanks to some glorious playing and an adherence to the spirit of Kuti. [Oct 2017, p.95]

Lee is free--and it sounds wonderful. [Oct 2017, p.96]

Remaining loyal to Laurel Canyon and the NY underground, the collision of '60s classicism and noise is joyous. [Oct 2017, p.94]

Mike Scott still has something worthwhile to say, but on Out Of All This Blue you wish there was a little less of it. [Out 2017, p.91]

His socially conscious lyrics can be clunky but never overwhelm the light, acoustic setting. [Oct 2017, p.98]

At least Wake Up Now lifts its voice in protest during turbulent times, rising even when it doesn't quite shine. [Oct 2017, p.93]

It's the "ballads," for want of a better term, that provide V's definitive highlights. [Oct 2017, p.89]

In conception and execution, Concrete And Gold stands as Foo Fighters' most beguiling record to date. [Oct 2017, p.88]

Though this debut might lack any real moments of surprise, guitarist Tom Morello still manages to squeeze unholy sounds out of his instrument while Chuck D's apoplectic anchorman baritone reminds us of his lyrical power and unique timbre. [Oct 2017, p.96]

What stands out most about Give More Love is that Ringo's vocals have matured stylistically from his trademark amiably blokeish tones, and are stronger and more expressive now. [Oct 2017, p.90]

A supercharged, hook-heavy pop-metal attack that impresses but rarely convinces. [Oct 2017, p.98]

Songs packed with breathless synth and guitar drama, yet still sounding deceptively simple. [Oct 2017, p.98]

An album of miasmic, trippy electro-pop, heavy krautrock rhythms and sinuous digital funk. [Sep 2017, p.93]

Raw yet warm, Love What Survives has a distinctively comforting setting. [Oct 2017, p.92]

A more focused excursion. [Oct 2017, p.98]

Everywhere Bourne's judicious minimalism proves compelling. [Sep 2017, p.89]

Meredith and David Metcalf craft slow-rolling CA ghost ballads, beguiling end-of-days stories with the same mournful beauty as The Triffids' Born Sandy Devotional. [Oct 2017, p.98]

As ever, Butler weaves these disparate ups and downs without visible joins. [Sep 2017, p.91]

A couple of cracking originals of his own and beautiful production. You have to doff your cap. [Oct 2017, p.95]