Here's some blood and guts from Toronto in the prime-time 1970s. And it doesn't just sit there. [Jul 2022, p.101]

Here, Marc Almond's slightly-too sharp voice and Dave Ball's compendium of antique synth tricks are once again a perfect pop match. [Jul 2022, p.93]

Just one problem: at 38 minutes, it's over far too soon. [Jul 2022, p.91]

Occasionally, they favour the billowy and formless- Waving A Whit Flag goes nowhere, albeit moodily - but their best tracks showcase Yorke's song most transparently; Panavision and Free In the Knowledge are two of his loveliest in years. [Jul 2022, p.90]

She's taken a great leap forward at the very moment one was required. [Jul 2022, p.89]

Beautifully black. [Jul 2022, p.88]

Dana Margolin isn't just reckoning with a break-up, but a near-total collapse in its wake. ... Yet the prettiness somehow makes listening feel more voyeuristic. [Jul 2022, p.92]

There are moments of real beauty, and Air may well prick up the ears of film producers looking for new scoring talent, but as a listening experience in itself, it's often heavy-going. [Jul 2022, p.90]

A record that feels warmer, wiser and less forced than any of his albums so far. [Jun 2022, p.88]

The melodies and fire return in Baby I'm Coming Home, but held up against their past triumphs, Dropout Boogie often sounds half-cooked. [Jun 2022, p.84]

There is a confidence and intensity at UCLA that explains why that concert was an under-the-counter favourite. [Jun 2022, p.96]

Citizen Kane Jr. Blues has the challenged audio of a cassette machine hidden inside a coat or under a napkin. it also has the precious, authentic thrill of one-night-only magic. [Jun 2022, p.96]

Professionally recorded with a slightly altered song order (no Down By The River). There is a definite air of victory lap. [Jun 2022, p.96]

It builds a new stoic eloquence into her vulnerability, even if the stark, birdsong-imbued Darkish drips with Radiohead-like ennui. [Jun 2022, p.84]

Endless Rooms presents a tightly-knit ensemble creatively, thrilling ablaze. [Jun 2022, p.90]

Side two, however, veers into arch Euro-pop (I Don't Have Control Sometimes) and moody balladry (Stand By Me), and Sunflower Bean's new-found confection begins to set one's teeth on edge. [Jun 2022, p.87]

An exquisite distillation of hope and perseverance, mystery and humanity. [Jun 2022, p.87]

If you've been waiting 11 years for this, you'll be relieved to know it won't disappoint. [Jun 2022, p.87]

Warpaint's finest album so far. [Jun 2022, p.88]

Without making concessions, she's delivered her most accessible album yet, perhaps even her best. [Jun 2022, p.84]

WE is Arcade fire's best album since 2010's The Suburbs. By circling back, they've once again moving forward. [Jun 2022, p.86]

Throughout, frontman Stuart Murdoch's succinct dramas are typically populated by vulnerable dreamers and seekers, some still Young And Stupid (the opening track), others a reflection of how his Christian beliefs embrace the tenets of Buddhism. [Jun 2022, p.87]

On one hand, there are well written songs here, served up on a bed of country tunes via Jack White's rarefied, obsessively aesthetic Third Man label. But then there's the cheap, digitised sound, with all the charm of a Hallmark Country Christmas album dropping an '80s home organ down the stairs at Nashville airport. [Jun 2022, p.86]

Wen It Comes is a mood piece on which Gavanski appears to chronicle living through a waking dream. [Jun 2022, p.89]

A multi-faceted and in turns amusing and affecting album. [Jun 2022, p.86]

Singer Ann's third solo LP is her most Heart-like, cruising between drivetime and blues-rock. [Jun 2022, p.89]

It's another late-life triumph. [Jun 2022, p.87]

Lengthy spoken-word soliloquys (in German), sonic paintings of air raids and oracular avant-classical minimalism sit alongside more familiar Laibach Strum und Drang - the group's disorienting way with reframing materials makes for an unnerving experience full with violence, trauma and insight. [May 2022, p.86]