Seamus Fogarty's songs are sparse affairs with banjo, guitars, cellos and electronics framing pithy, observational lyrics. ... There's poignancy too. [Jan 2021, p.87]

Strange Lights Over Garth Mountain, Raymond's staggering second album, leaves no doubt that she is among the most vital, dynamic voices within the still-teeming solo guitar orbit. [Dec 2020, p.82]

Beautiful and potent stuff. [Oct 2020, p.89]

His albums are populated by characters, tall tales and true stories sung in that plain-dealing half-spoken voice that can bring to mind Tom Petty. ... Here we have a paean to Johnny Thunders. ... And to John The Baptist's son. ... And three separate songs about presidents. [Sep 2020, p.88]

Three long, meditative ideals of 49-note microtonal singing. [Dec 2020, p.89]

An often terrific record with unexpected arrangements, Butler's feral guitars and Davies's perfect diction. [Nov 2020, p.83]

Lets playfulness weave through her cinematic forms, as orchestral tapestries, chamber folk and electronics commune. [Dec 2020, p.89]

The resulting 12 songs return the group to their earlier sound, a chaotic bundle of charm and romance, realism and poppy experiment. [Dec 2020, p.83]

Supple rhythm section underpins Rowley's abstract lyrics facing existential ills with charisma and skill. [Dec 2020, p.89]

Proceedings occasionally veer toward earnestness, but gorgeous textures of clarinets, guitars and synthesizers keep the project bracingly alive. [Dec 2020, p.82]

The acoustic demos in this forensic reissue lay bare Tweedy's raw hurt and beguiling melodies; alternative takes of the title song and I'm Always In Love show the sturdy bones of Wilco's early alt-country ideals. [Dec 2020, p.97]

It's Kuroda's interplay with singer/trombonist Corey King, sharp riffs and lithe, streetwise solos that hold sway. [Nov 2020, p.85]

A glistening hybrid. [Dec 2020, p.87]

The songwriting revealed another unique strength: commercial hooks wedded to allegorical poetry. [Dec 2020, p.96]

Overall these "ultimate mixes" sound airy and punchy. [Dec 2020, p.96]

Gorgeous, enveloping music. [Dec 2020, p.80]

Icily cinematic, Arnalds has a widescreen future. [Dec 2020, p.85]

It feels doubly elegiac, a mood best caught by Nick Cave's tremendous Cosmic Dancer. Even so, there's fun to be had. [Oct 2020, p.86]

White's rage and fear drives the album's songs across any number of stylistic lanes. ... Which is good news for us, because their timeless fury is just what we need more of right now. [Dec 2020, p.82]

Enhancing the listener's wonder at her rapid evolution, shoreline to treetops in under four years. [Dec 2020, p.90]

An intense, trip-hoppy and orchestral examination of love in all its forms. [Dec 2020, p.88]

It's a beautifully eclectic one. [Dec 2020, p.97]

Symbols of hope still gatecrash his bruised world. [Dec 2020, p.80]

An album that's lighter on its feet than its closest relation, When I Was Cruel. Jagged but innovative and angry but wry. [Dec 2020, p.86]

Although there are hints of his alter ego GLOK's textured electronics throughout, experimentation is evenly balanced with his love of '60s classicism. [Dec 2020, p.86]

Some of its best moments, including Savannah's rolling, tumbling Lynard Skynyrd-style grooves, are steeped in '70s Americana. Others, though, are distinctly so-so. [Dec 2020, p.86]

This is music for interiors, sequestered days in tune with the beauty of our immediate surroundings. [Dec 2020, p.85]

Across a double album, Clarke's songwriting landscape can start to feel featureless, his big-sky country demanding tighter focus, more interesting rock formations. [Dec 2020, p.88]