Perfectly sequenced, Sinister Grift's dubious uplift gradually falls away to reveal an exquisite melancholy introspection, the sound of optimism weighted by mooring hooks of sadness. [Apr 2025, p.86]

Discreetly excellent comeback. [Apr 2025, p.87]

With both McGovern's baritone soul-mining and Damien Tuit's mercurial six-string electrifying throughout, Blindness should rightly see these Irishmen advance to the Premier Division. [Apr 2025, p.83]

It's a miracle that anyone can sustain such quality songwriting over such a prolific output. [Apr 2025, p.83]

If her 2023 breakthrough Anarchist Gospel was sparse and brooding, haunted by break-ups and deaths in the family, Armageddon In A Summer Dress bristles with Tom petty guitars, skinny-tie keyboards and a hard-won sense that - despite the miserable treatments of the have-nots - humanity might still be worth saving. [Mar 2025, p.87]

Flegel's ability to surprise and disturb rarely dims, the experimental held in exhilarating balance with their pop gifts. [Apr 2025, p.82]

Interlaced with songs of celebratory surrender are darker tracks that delve into anxiety and neurosis, and these are the most powerful. [Apr 2025, p.83]

A slightly more cohesive album - a complement to 1978's Comes A Time rather than a first take, perhaps. [Apr 2025, p.97]

Through dry humour, love songs as tender as Tim Hardin's, tremolo guitars and intensely moving samples Powers reveals a psyche reborn. [Mar 2025, p.93]

A poignant portrait of post-industrial Britain - one that's leavened by some less-than-commonplace vocabulary. [Apr 2025, p.78]

Dawson’s command of the nuances of northern English speech and empathy for small, vulnerable things of all ages shines through with all-seeing light. [Mar 2025, p.92]

The combination of Schultz's desperately appealing voice and Fraites's lonesome but poppy piano still hits hard. They're still doing things right. [Mar 2025, p.88]

This union [with Lady Gaga producers Yves Tumor and Lawrence Rothman and Taylor Swift co-writer Jack Antonoff] pushes his emotional, sophisticated rock in vivid new directions. [Mar 2025, p.84]

Boone delivers these stories like she's divorcing a husband, morose but defiant, while guest Cory Gray's keyboards help turn parochial into widescreen. [Mar 2025, p.90]

In another world, Andy Warhol would want to manage them, but on this evidence, Horsegirl have pop down to an art by themselves. [Mar 2025, p.86]

Modern Genius is a warm breeze after the hit-and-miss Afrofuturist sax/drum experiments of 2022's Ibeji. [Feb 2025, p.89]

The songs on Enter Now Brightness, however, suggest no dulling of Reid’s songwriting senses, just an acute desire to keep moving closer to seeing the light. [Mar 2025, p.85]

The bare-bones magic of Don't Forget Jane and Of Mind And Feeling proves Lewis's capacity for generating uplifting melodies matches the brawn of his solos. [Mar 2025, p.89]

A black-clad twist on quality pop that should rightly be blitzing from alt-radio throughout 2025. [Mar 2025, p.86]

From the get-go, JID022 crackles with a kinetic energy that drives the album's unrelenting, addictive dance pulse. [Dec 2024, p.89]

Broadly, his remains the church of raucous or jangling indie-guitar with quirks (unexpected strings at the end of I Couldn't See The Light; clunking smartphone recording The Well Known Soldier), but Universe Room rewards the patient. [Mar 2025, p.92]

Ominous drones, clanking banjos, filthy weather: a winning combo. [Feb 2025, p.87]

An often beautiful, occasionally intimidating 48-minute environment piece. [Mar 2025, p.86]

Astonishingly innovative. [Mar 2025, p.89]

Both in the consummately ominous sonics and EGL's graceful baritone, there's a pervasive end-times mood. [Mar 2025, p.90]

Downstate's a more focused listen. [Mar 2025, p.93]

Cowards is all killer, both musically and thematically. [Mar 2025, p.84]

The results, recorded in Brooklyn over two years, are something of a revelation. [Mar 2025, p.82]