There's not a bad song here but, more to the point, Fogerty Sr's voice and guitar sound as potent and commanding as ever. [Jan 2021, p.88]

Welfare Jazz finds them dropping through the gears and settling on a sound that often resembles the frazzled nocturnal grooves magicked up during Josh Homme's Desert Sessions. [Mar 2021, p.90]

Packs ear-worms and dulcet vocal harmonies galore. [Mar 2021, p.86]

A truly fine album. [Mar 2021, p.84]

Defiantly mainstream. Still, it's certainly not weedy, relying on big Nashville arrangements filled with swelling strings and modulated Hammond organ. [Mar 2021, p.82]

This is music for smarter dancefloors. [Mar 2021, p.89]

It mostly works but can be breathless. [Dec 2020, p.82]

WYTMWY is Knox in typically epic form, a suspenseful fusion of country-folk ballads and Twin Peaks cabaret. Bu there's a fresh clarity here too. [Feb 2021, p.88]

While Khruangbin's own cover of Kool & The Gang's Summer Madness is a technical knock-out, the two-punch combination of Maxwell Udoh's inaptly titled Nigerian disco landmark I Like It (Don't Stop) and David Marez's florid Ensename is distinctly below the belt. [Jan 2021, p.100]

A useful and thoroughly entertaining precis of one of the great 21st century rock projects. [Jan 2021, p.101]

Slow, stark tracks like Kick-Around Johnny sound like a spun-out, confessional Lou Reed, and there's epiphany too: I Came To Tell You In Plain English (I'm Leaving You) is casually devastating. [Jan 2021, p.90]

A suite of songs involving a character returning from a near-death experience, it works just as well without the plot. Still, there are twists and turns aplenty. [Jan 2021, p.91]

After the past 12 months, you might feel you want and need more escapism than Spare Ribs really offers. Yet if everyone's been made to gaze into the abyss this year, it's a relief, a comfort--maybe even a pleasure--to find Sleaford Mods in there, gazing right back at you. [Feb 2021, p.80]

Drunk Tank Pink is the sound of a band pushing themselves to discover new sonic and emotional terrain. [Feb 2021, p.82]

Music this soulful should need no introduction. [Feb 2021, p.88]

Unique and hugely addictive. [Apr 2020, p.95]

The sprawl of her vision is impressive; the mystic excellence of its execution suggests she should make a habit of such recordings. [Sep 2020, p.88]

A pair of Bartz originals are frenetically reworked, while the veteran's scything sax on new Harlem To Haarlem steals the show. [Jul 2020, p.88]

A playful digital makeover for some vintage noir vibes. [Oct 2020, p.94]

In all, an unexpected and all-encompassing feast. [Feb 2021, p.98]

This never feels thrown-together, which is some achievement. Instead, the album feels like one to spend ample amounts of time with as you travel its far-flung corners as it reaches for the stars. [Feb 2021, p.84]

It's exactly what you'd expect, but in a good way. [Feb 2021, p.83]

Here he sings, using multiple guitar tunings for the complex arrangements, and his voice is variously a warm croon, sometimes darker but mostly pure and tender. [Feb 2021, p.82]

As distinctively fabulous as anything they have released in nearly 40 years. [Jan 2021, p.85]

The LP is a little crammed. [Nov 2020, p.82]

A synth-heavy, sci-fi opus that hits its celestial climax on 10-minute standout Space Oddity. [Dec 2020, p.89]

It's McCraven's gift to integrate radical individuals into his inclusive sound design; exuberant groupthink in action. [Nov 2020, p.84]

Mazurek's rare talent for sculpting and reshaping space remains blissfully intact. [Dec 2020, p.85]