The most energised performance Costello has committed to record in a long time and - despite his protestations that The Imposters are an entirely different band - his most classic Attractions-like album since 1994's Brutal Youth. [Feb 2022, p.83]

Bruland has build her formative P.J. Harvey influences with a blurrier, chillier mix of guitars and electronics, landing somewhere bewitching between Broadcast, My Bloody Valentine and Lush. [Jan 2022, p.87]

Blind Date Party is intriguing enough to be more than a one-night thing. [Jan 2022, p.82]

A richly downcast experience, his deft arrangements recalling the powerful, orchestrated cloudbursts of Curtis Mayfield's solo debut. [Feb 2022, p.82]

This album again showcases Marshall's exceptional ability to burrow right into the marrow of a song. [Feb 2022, p.82]

Its class is unmistakable, surpassing even the low-slung gait of 1995's previous career milestone Smokers delight. [Dec 2021, p.89]

A delight of many layers. [Aug 2021, p.83]

Among wild wanderings, Trees Speak frequently snap back to a crisp, jazzy bassline groove, making their whole far-out adventure hard to resist. [Feb 2022, p.87]

While Mollestad is at her most formal, this album's power and deep cultural roots bring a resonance akin to that of the work of Nordheim. [Jan 2022, p.88]

Built around minimalist synth sequences that are slow-building and tense, with agitated pin-prick rhythms and pulsing stabs evoking a vastness of space and associated emotional states. [Jan 2022, p.87]

His voice surprises. [Jan 2022, p.88]

Springtime has two approaches, one more methodical, like the intense needling Will To Power. ... The other is rooted in improv. [Jan 2022, p.84]

A series of musical shocks driven by Marcal's powerful vocals. [Feb 2022, p.89]

Musca is far more than filler. Opening with the crunching sweep of two Doors, Herbert sets sail on a (wonky-ish) 4/4 course. Hypnotised is moody, throbbing house with a UK garage skip. [Nov 2021, p.91]

12 solo guitar pieces conjure spatial evocations. [Jan 2022, p.91]

The whole of Open Arms is much larger than the sum of its parts. [Jan 2022, p.89]

Genre-curious in its sparkle and allure, and most certainly not for everyone. [Feb 2022, p.102]

Moves from a first LP of monumental pinguid hypo-groovers to a second of fried-amp creepy-crawl sludge and crude-oil ghost harmonics. [Dec 2021, p.86]

As with all such improvised projects, Gong Splat is as much about the journey as the destination, but there's little meandering to Dwyer's questing. [Feb 2022, p.87]

A liberating 73-minute sprawl, constantly blurring the lines between euphony and cacophony. [Dec 2021, p.89]

These 11 songs sound like they've been here forever. [Jan 2022, p.82]

Can's high-wire spontaneous creation sustains over 90 mind-bending minutes at the highest pitch. [Jan 2022, p.101]

Subtitled "Ghana Music Power House", a fitting epitaph for Dick Essilfie-Bondize. ... Highlight: the blissful whirl Yeaba by CK Mann's Carousel. [Feb 2022, p.103]

The 50th-anniversary edition affirms the underrated triumph in Cahoots. [Feb 2022, p.97]

The more gothic the song (Girl In Amber; Red Right Hand) the better the interpretation. [Feb 2022, p.92]

He digs deep on guileless rock and soul with bold flourishes, ala Lowell George or Randy Newman. [Feb 2022, p.92]

The highs of Fade, Queens and Better Love variously recall Arcade Fire and The Flaming Lips in euphoria mode, while the lows plumb eerie depths akin to Big Star's Third. [Feb 2022, p.89]

There are moments where the charts could bear being much edgier, and the guest spots are variable. ... In the midst of it, Weller himself sails regally on, in fine-grained voice, and the songs are happily, bomb(ast)-proof. [Feb 2022, p.87]