Savour John Darnielle singing. [Dec 2020, p.86]

Loma are quite capable of drawing listeners in with their own perspective. [Dec 2020, p.86]

Posse-laden re-workings of deathless anthems Public Enemy Number Won and Fight The Power are suitably superfly; rehashing four tracks from 2017's Nothing IS Quick In The Desert less so. A welcome blast if righteous funky wisdom nonetheless. [Dec 2020, p.83]

The most cohesive Gorillaz album since Demon Days 15 years ago. [Dec 2020, p.81]

Love Is The King is determined to hold on tight to the good things while keeping a sharp eye on the mirror. [Dec 2020, p.80]

The vital spark that graced Fleet Foxes' debut is back. [Dec 2020, p.80]

Ultimately, what redeems Letter To You from notions of idealised nostalgia is the rigour of its performances, particularly those of Springsteen himself, who for the second successive album is in the singing form of his life. [Dec 2020, p.78]

Offers many perfect showcases for their ability to take lounge inside a groove 'til something remarkable happens. [Nov 2020, p.85]

Several songs here feel swamped. [Nov 2020, p.88]

The overall message is of gentle positivity. [Nov 2020, p.80]

Songs draws itself into clearer focus through Lenker's sweet, freshly-cut voice. [Nov 2020, p.83]

It's not gloom and vitriol, it's gorgeous. [Nov 2020, p.83]

It's an adrenalin rush to experience rather than listen to, and the 11 tracks are over too soon. [Nov 2020, p.81]

Punchier and more accessible, while still showcasing the sextet's psychedelic bona fides. [Nov 2020, p.84]

Something of a sonic lucky dip, these 20 short, super buzzy impregnably titled tracks often switch beats or cut-off abruptly, underlying its rule-breaking creator's rookie confidence. [Oct 2020, p.93]

Even without explicit elegies, there's a sense Morby is permanently watching something sink into the horizon, suspending what's left in beautiful songwriting amber. [Nov 2020, p.80]

This exhaustive reissue includes his [Bob Stinson] final contributions, though the real gold comes in their studio sessions with Jim Dickinson. [Nov 2020, p.95]

Her songs are beautifully, tentatively constructed, the arch quirkiness of her early albums now replaced by the lush writing of songs. [Nov 2020, p.88]

Here across 11 instrumentals, it's a totally entrancing journey as grooves are saturated by horn swells, eerie organ, bad-trip backwards guitars and drum breaks ready for sampling. [Nov 2020, p.83]

There's a Paul Simon acuity to Up With The Jones, a look at living beyond your means, going bust and being free. Wisdom Of The World steps right out of line, a feedbacky Hendrix-style howl that resolves into mellow catharsis. [Nov 2020, p.89]

Travis remain curiously unrevered, but 10 Songs is fine work nonetheless. [Nov 2020, p.86]

A lower case delight. [Nov 2020, p.88]

Despite no huge leaps forward sonically, there are some fantastic scenes set to song. [Nov 2020, p.83]

Their finest since 2010's Destroyer Of The Void - sees them concentrating on what they do best: songs that sound like The Beatles at Big Pink; songs that sound like Dylan gone power-pop. [Oct 2020, p.93]

Pare things back to an insistent Banshees-like boom and groove. [Nov 2020, p.90]

The fabulous final versions of these songs often haven't travelled far from their rougher cuts, possibly because Harvey's voice, matured into a sumptuous growl, anchors the mood in enough grandeur. [Nov 2020, p.94]

Prolonged exposure to this scattershot approach can be exhausting. In smaller chunks, however, Free Humans is exhilarating, and unpredictably so. [Nov 2020, p.89]

A compelling, grimy darkness ripples throughout. [Nov 2020, p.82]