With Tek on growly vocals, Two To One feels closer to Birdman's hypermelodic chug than any Stooges explosion. [Nov 2020, p.88]

This is very much a thoughtful, interior record, with its own distinct character and an unsettling quality that gets under your skin. [Jan 2021, p.91]

The Sunday Valley songs survive the transition best, particularly All The Pretty Colours, but the psychonaut jiber-jabber from 2014's Metamodern Sounds In Country Music album comes a strong second. [Jan 2021, p.86]

Sonic hexes that feel simultaneously cursed and curative. [Oct 2020, p.91]

Poised somewhere between rootless anger and quiet revolution. [Dec 2020, p.87]

Lovely instrumental set. [Dec 2020, p.89]

Many of these 12 songs, eight of them originals, tend towards the reflective. [Jan 2021, p.90]

Campbell's lyrics might not match Petty's poetry, but the immediacy, energy and spirit are all there. [May 2020, p.95]

It occasionally drifts away but with a subtle pillowy beat or piano, Brun holds it together beautifully. [Jan 2021, p.85]

At each stop on the tube map, much yobbo-chorus fun ensues. [Jan 2021, p.86]

Just like McCartneys I and II, III is a confounding cocktail of genius and misfires. [Jan 2021, p.82]

British cellist and Radiohead collaborator has created something darker but much more impressive [than 2018's Shelley's On Zann-La]. [Dec 2020, p.87]

Corgan's floatier tunes and chocolate-box lyrics actually suit this sound palette well, but, as so often in pop - and Corgan's - history, a 10-track single LP would've nailed it better. [Jan 2021, p.86]

This is memorable music for exceptional times. [Nov 2020, p.89]

Live albums often give you the gist of the jam, inviting you to imagine studio details; The War On Drugs invert that expectation, letting the rest sparkle beneath stage lights. [Jan 2021, p.86]

Idiot Prayer is extraordinary, breathtakingly varied within its minimal format, and compelling throughout. [Dec 2020, p.84]

Universal Energy sucker-punches with an 11-minute masterclass in shapeshifting disco, and Vasto's clanking delirium clinches these industrial shadow-dwellers' influence on everyone from Derrick May to Underworld. [Dec 2020, p.83]

A feast for the committed follower. [Jan 2021, p.98]

A useful document of Crazy Horse in rare, relatively subtle trio form (no Poncho). [Jan 2021, p. 101]

The pair's debut creates an inviting somnambulant soundworld. [Jan 2021, p.85]

Tina's mesmeriing pop-psych is also a fascinating conundrum. [Jan 2021, p.91]

A rare sustained tension between sex and spirituality bristles throughout. [Jan 2021, p.88]

Their contrasting flows clip together surprisingly well. [Jan 2021, p.88]

Not a single ounce of fat on the bone, Return is a road trip well worth taking. [Jan 2021, p.88]

The result delivers delightful Dapness. [Jan 2021, p.88]

The overall effect is usually on the right side of too much, the listener lifted up by Castle's wings. [Jan 2021, p.87]

The results are an impressively cohesive testament to Lambchop's interpretative skills as much as their experimental slant. [Jan 2021, p.86]

KG is no mere retread of the earlier album, Stu Mackenzie's custom-built electric baglama leading him in unexpected directions. [Jan 2021, p.86]