This solo instrumental album feels lighter in gates-of-doom atmosphere than previous work, but even so, whispers and echoes start to bounce off this record's walls, promising revelations at every turn. [Nov 2020, p.86]

In all, more a series of disconnected building blocks than a cohesive album. [Nov 20, p.89]

New York is one of Reed's strongest solo albums, with its tight focus, impassioned lyrics and spare, almost punky music. This is a deserved reissue, but the extras - a complete, energetic live rendition of the record from 1989, and some outtakes including he unissued The Room - are for fans only. [Nov 2020, p.92]

An immersive trip, if not one to take that often. Smith, though, is in her element. [Oct 2020, p.89]

An epic ride. [Oct 2020, p.87]

A confidently tuneful if nostalgic set. [Aug 2020, p.87]

ACR Loco lives up to its title. [Nov 2020, p.83]

Melodic snap and guileless sentiments. [Nov 2020, p.90]

In all, a very promising debut. [Nov 2020, p.90]

His wistful songs impart wisdom quietly, but on All In My Sleep gloriously lets rip. [Nov 2020, p.90]

Both beguiling and frustrating, The Ascension is complex, bold and oddly lovable. [Nov 2020, p.89]

We Are Chaos thrives when Manson ditches his horrorcore shtick and actually emotes. [Nov 2020, p.80]

Relying on her exquisitely malleable voice, slickly inventive production tics, and winning vocal support from south London's Sampha and Tanzania's Diamond Platnumz, among others. [Nov 2020, p.80]

There may be a couple too many mid-tempo chugs among Phantom Birds' 13 tracks, but Berry has a knack for lyrics that pick away at self-doubt and brave public faces. [Nov 2020, p.86]

Their most ruthlessly focused. [Nov 2020, p.88]

The results isn't just his best album post-Sonic Youth, but some of the best music he's ever released. [Oct 2020, p.90]

A second album of devilishly delicate songs. [Sep 2020, p.82]

Ultra Mono is the almighty sound of the do getting done. [Oct 2020, p.82]

Getting back in touch with his anger hasn't come at the cost of Mould's innate tunefulness. [Oct 2020, p.86]

This adrenalised debut's handful of instant classics is way above par throughout. [Sep 2020, p.88]

It's early days yet, but Fenne Lily might just be a major talent in the making. [Oct 2020, p.89]

The ragtime version of Wild World is perhaps a re-imagining too far. ... Father And Son remains monumental and intensely moving, however. [Oct 2020, p.93]

It doesn't work when she wails and chants her way through the closing Sun, but she's absolutely fearless, as rigorous as The Moody Blues circa Days Of Future Passed and as adventurous as Can circa Future Days. [Jul 2020, p.82]

An extraordinary 80-minute concept album. [Oct 2020, p.91]

Hectically enjoyable LP. [Oct 2020, p.87]

Baudelaire & Piano isn't instant, but it lingers like a vivid dream. [Oct 2020, p.89]

At times the effect is sinister, at others soothing and hypnotic, like fog-borne siren songs, or the ghosts of liturgical choirs caught high in the cathedral vault. [Oct 2020, p.91]

She walks us through iconic and barely known songs from her repertoire, inspired by the city. [Jun 2020, p.93]