As Ever, they're at their best when Amy Millan and Torquil Campbell trade vocal lines. [Aug 2022, p.92]

Without the accompanying visuals, Ugly Season makes most sense when there's a vocal to centre it. [Aug 2022, p.86]

It puts ZZ's impeccably-tuned engine room under the microscope, their "just us and the music" gambit paying off. [Aug 2022, p.90]

It's gauzy visions suggesting some rediscovered private press folk oddity from the '70s, Segall's faultless melodic instincts lent an edge by Bolan-esque warble, inward-looking lyrics and, on Saturday Pt 2, wild saxophone duets. [Aug 2022, p.87]

Its sure-footed '60 psych, garage and country is potently rendered. [Aug 2022, p.89]

It's difficult to detach this record from the harrowing specificity of its backstory, yet Riderless Horse never makes you feel like an intruder. That's testament, after 12 long years, to Natasia's skills, the undimmed songwriter able to transform all the pain and horror into something indelibly beautiful. [Aug 2022, p.88]

It's extra-colourful and top quality. [Sep 2022, p.87]

Moonshine occupies that rich space between hope and melancholy, smooth, maybe, but not without its hooks and catches. [Aug 2022, p.90]

Perhaps the most mellow and settled LP of White's career. ... These slow burns seem good for White. [Aug 2022, p.84]

Making a little go a long way on a contagious return, up there with commercial peak Cabs circa The Crackdown and Micro-Phonies. [Aug 2022, p.94]

At best, Fear Fear is as compact and airless as its title, an existential crisis dancing in warm leatherette. [Aug 2022, p.87]

It's a beautiful, nuanced record, the sound of new boundaries forming and realigning. [Aug 2022, p.94]

Hellfire, for all its sporadic intensity, is less harsh than previous Black Midi records. [Aug 2022, p.83]

The star is Derek Trucks' sweeping washes of whooshes that wrap the five tunes in a warm blanket, 12-minute ender Pasaquan showcasing his stinging, dexterous, raga-blues brilliance. [Aug 2022, p.95]

Katy J Pearson's second album heralds few radical stylistic shifts, but showcases renewed confidence, intention and focus. [Aug 2022, p.86]

There's something quietly masterful about The Other Side Of Make-Believe. Strong, dignified, scarred but moving forwards, it's the sound of a band charting emotional disturbances, but emerging renewed. [Aug 2022, p.91]

Producer/arranger Joel Burton steeps Bock's butterly-rich voice in shifting contours that match the nuances in her words while leaving acres of space. [Aug 2022, p.90]

You do wonder what, exactly, fires his pistons and to what end, but quality control remains excellent. [Aug 2022, p.91]

At 70 minutes it's worth wallowing. He's pushing his own boundaries. [Aug 2022, p.90]

Sounds great and further reveals the era-oddness of Prince's blending of '80s drum machine funk with late-'60s heavy rock. [Jul 2022, p.100]

It's the garlanded ritual folk of Kan Me ("May Song"), however, that underlines this is a record of changing seasons and transitional states. Accept the offer of tea but prepare to lose days in the process. [Aug 2022, p.90]

Each of them [psalms] is spoken word, less than two minutes long, and set to music that's ominous, ambient, spectral and spiritual. That's side one; side two is taken up with a 12-minute instrumental - a ruminative play of dark on dark, with a deep drone and synthesized choir of ghosts that's quite lovely. [Aug 2022, p.96]

Household Name is their Cannonball moment, supercharged pop that also acknowledges Smashing Pumpkins and Veruca Salt. Momma wear it well; celebrating, not denying, their inspiration. [Aug 2022, p.91]

Nuanced writing, full of tender challenges to lost souls, and Shelly's warmest sound yet. [Jul 2022, p.92]

It's all expertly arranged to maximise the unbrushed bohemian intensity. [Aug 2022, p.86]

All in all, it's lovely, uplifting stuff. [Aug 2022, p.87]

Throughout there is a sense of making music for the sheer thrill of it. ... This is Newcombe celebrating the moment and at his best. [Aug 2022, p.92]

While Reggae Film Star is often droll, Jurado's empathy for his characters - from the enduring recriminations of Lois Lambert to the aching isolation of What Happened To The Class Of '65? - often makes for affecting songwriting. [Aug 2022, p.87]