This is the sound of 19 different keyboards imagining a parallel world where the test record in every '70s hi-fi home was Wendy C micro-Mooging her way through the Sun ra spaceways. The combination highlights the innocence and beauty of both styles, like forgotten '70s TV themes soundtracking scientific experiments or lonely IBM computers hymning their own obsolescence. [Jan 2022, p.86]

Her best songs - cinematic anthem Lost Woman's Prayer and highly charged Every Day In Faith - sound like well-established country classics. [Jan 2022, p.89]

For all its neo-classical leanings, Frahm's music engages emotion as much as intellect, these sketches and fragments offering a meditative respite from a world far more chaotic than this music. [Jan 2022, p.83]

A sturdy enough vehicle for Young's polemics, Crazy Horse are an even stronger conduit for the metaphysics of their union. ... But when you want it dark, no one does dark like Neil Young and Crazy Horse. [Jan 2022, p.80]

Drily recorded and subtle to a fault. in places, Island Of Noise becomes so evanescent it threatens to disappear altogether. [Dec 2021, p.92]

Skirls of noise are layered like mille-feuille, bass drops hit with the muscular impact of a piledriver, and a cloud hangs heavy over the entirety of proceedings. [Jan 2022, p.87]

Caravan sound reinvigorated and energised here on their best album in, let's say, quite some time. [Nov 2021, p.93]

Immersive and entrancing. [Jan 2022, p.90]

It's a daunting but ultimately rewarding listen. [Jan 2022, p.92]

It routinely achieves a perfect fusion of forma nd content. [Dec 2021, p.87]

[Body/Erase's] opening six minutes resemble an accidental recording made inside an overcoat pocket before mediated snatches of feedback further hint towards this maverick tape manipulator's dark art. [Jan 2022, p.82]

It's a vivid glimpse of a phenomenon on the cusp of mega-fame. [Jan 2022, p.100]

A beguiling outing, cinematic in scope and ambition. [Jan 2022, p.86]

The Bridge is Sting at his most-Sting like. [Jan 2022, p.82]

Aoba's hushed voice makes for an immersive meld of indie-folk, classical and jazz. [Jan 2022, p.91]

One for the fans delighted he's still here and fascinated by how such classic songs started out. [Jan 2022, p.82]

A sensual, hallucinatory delight. [Jan 2022, p.86]

Georgia Blue's diversity of Georgia sounds sits well with its campaign for inclusivity. [Jan 2022, p.86]

The sixth full-length is a more modest affair, but also one of their finest. [Nov 2021, p.88]

The finest track is Lukas's high tenor take on George Harrison's All Things Must Pass, a hymn to wisdom and humility its timelessness reinforced as a country song. [Jan 2022, p.82]

Makaya McCraven's alchemical abilities and subliminal technical savvy offer both a sensitive update of the Blue Note label's depth-charged catalogue and a welcome pathfinder for the uninitiated. [Jan 2022, p.83]

A collaboration where each sulphurous element perfectly complements the others. [Jan 2022, p.90]

Roots-rock Zelig with a punk past, the New Yorker's double long-player has Roots Rock and Radical discs. [Nov 2021, p.94]

The remarkably unhurried, hermetic vibe of her intimate chamber-folk remains unchanged. [Jan 2022, p.89]

Out There, but inclusive too. [Jan 2022, p.89]

Garvey's lyricism is elevated by the subtle complexity of the music, clarinets, choral voices and churchy keyboards whispering through the vents of these sons, causing a quiet stir. [Dec 2021, p.86]

Things could have easily slipped into a kitsch pastiche by this stage, yet La Luz continue to find fresh avenues to explore. [Jan 2022, p.85]

While there's nothing here that immediately screams to be considered in the front rank of their input, the more you listen, the more it feels like being reunited with some long-lost, missing-presumed-dead relatives. ... Voyage is just as good as you expect. [Jan 2022, p.84]