The warmth of the recording and the excellence of the singer and the songs, this is up there with Massey Hall - just five songs shorter. [May 2021, p.96]

Smith is occasionally stodgy, but when he's good, he cuts to the heart. [Apr 2021, p.84]

An edifying spin baited for hardcore fans with an unreleased acoustic Strummer strum through Junco Partner and two live Mescaleros Clash covers. [May 2021, p.95]

Comic, sinister, suddenly moving, it feels like real-time psychological excavation, digging for truth. [May 2021, p.84]

[Her] supple vocal sounds are partly obscured here by loops and electronics or resonant layers of Eno'd guitars. [May 2021, p.88]

Hval's folkish vocals and poetic framing deliciously counterpoint a fusillade of muscular beats and Volden's jabbing guitar. [May 2021, p.87]

Song Of Co-Aklan definitively affirms Coughlan's place amid Ireland's poetic pantheon. [Apr 2021, p.80]

Foster[s] a reflective, bonfire-on-the-beach spirit. [May 2021, p.88]

It's another sonically sumptuous milestone for the Northern Irish composer/producer. [May 2021, p.87]

The standout is a take on Nothing Compares 2 U, Prince's adroit vocal melody a showcase for Cornell's affectionate, bluesier reading. Elsewhere, Harry Nilsson's Jump Into The Fire is toughened-up and much abridged. [Apr 2021, p.80]

These are big themes that provoke corresponding emotions. [May 2021, p.87]

He delivers another strange and beautiful record, retooling is soporific folk sound with synths and experimental soundscapes. [Apr 2021, p.81]

The 10 tracks rise and fall through burbling electronics and explorative jazz. [Apr 2021, p.88]

Haunted and intimate, Balfe's deep brogue ultimately salvages hope from the wreckage. [May 2021, p.83]

Occasionally, the lyrics veer into fuzzy abstraction, but the music never does. [May 2021, p.82]

By opening up melodically as well as rhythmically, Garbus and Brenner better reveal the big heart at the centre of Tune-Yards. [May 2021, p.87]

The first half rifles through their familiar bag of production tricks. .. The weirder and more diverse second side is where stuff gets interesting. [May 2021, p.81]

It's a subtly sophisticated piece, but it also creates space for Sanders to showcase his tender, measured, lyrical phrasing, abstracted scatting and, 34 minutes into this 46-minute marvel a brief sputtering blast of free saxophone energy that proves, at 80, his fire remains potent. [May 2021, p.87]

Limber, spacey music, pitched somewhere between jazz, funk and ambience, in the company of an innovative new class of sessioners. [May 2021, p.87]

The music still mainly tilts around their Coil-Anohni Axis. ... As always with Xiu Xiu, though, it's a lot, two heads just as intense as one. [May 2021, p.85]

There's real beauty here and Silberman marries eventual accessibility with gentle boundary-pushing to create his own, thoughtful world. [May 2021, p.84]

The London singer's stark acoustic covers album works best when furthest removed from the original. [Mar 2021, p.91]

Nelson has not lost any of his breath control and singular phrasing. [May 2021, p.78]

A jarring and gorgeous reminder that our suffering is neither new nor negligible. [May 2021, p.79]

At their most effortlessly eclectic. [May 2021, p.82]

Nourishing batch of beat collages. [May 2021, p.88]

Proof that inventive, envelope-pushing indie rock hasn't disappeared off the map just yet. [Apr 2021, p.83]

A bold work of divine and nourishing textures. [May 2021, p.86]