While the lilting melodies suggest south-east Asia - as do, explicitly, a couple of spoken word passages - a wandering, spidery guitar generates an off-balance flavour. [Jul 2020, p.81]

Laidback, dreamy third album. [Jul 2020, p.84]

A band effort. And it shows in the diversity and quality of the songs. ... A fine album. [Aug 2020, p.93]

If midlife crisis haunts the 40-year-old Skinner, encroaching mortality is re-energised by juniors like neo-soul sister Greentea Peng's soporific vibrations on I Wish You Loved You As Much As You Love Him. [Aug 2020, p.93]

The best moments involve stranger juddering textures, as on Flowers or Wishing Well. Beauty is always better with an edge. [Aug 2020, p.87]

It is a relief to see Wainwright honouring his formidable songwriting talents with songs as luscious as those on Poses or Want One. [Jun 2020, p.94]

No wheels were reinvented in the making of this record, but it travels straight to the heart nevertheless. [Aug 2020, p.92]

A-grade pop songwriting. [Aug 2020, p.94]

Relatability charms never harmed Dolly Parton, and that's who you think of as these gargantuan melodies shimmer and soar. [Jun 2020, p.88]

Joyful and full of subtle vigour, it's the perfect headphone-heard walking companion when you don't want lyrics crowding your thoughts. [Jul 2020, p.85]

Galvanising, jazzy embrace of call-and-response tradition. [Aug 2020, p.94]

The Hull five-piece treads the queasy tightrope of prime Cure, Ride etc with real dexterity. [Aug 2020, p.94]

This may not be the '70s cosmic cowboy of Nelson in his prime, but wise old grandpa Willie is as sage and poignant now as he has ever been. [Aug 2020, p.85]

A remarkable accomplishment, confirming that Williams has already built a world all of her own. [Aug 2020, p.84]

This second album build on the same template [as 2016's Cradle With Humanity]. [Jul 2020, p.82]

Reality Tunnels finds the Bristolian beat-master reaffirming known skills while cultivating fresh ones. [Aug 2020, p.87]

A subversion of new age, but still oddly soothing in its own way. [Aug 2020, p.94]

Opener Wall Of Glass resounds with stirring audience participation while a robust rhythm section and lively Hammond organist help cut through the din. [Aug 2020, p.86]

As well as Billy Zoom's fuzz-punk rhythm guitar there are psychobilly drums, hints of country and some tangy, Blondie-esque pop melodies. [Aug 2020, p.86]

Genuinely inspiring, the story of Bananagun is a great yarn. [Aug 2020, p.87]

For all of Startisha's eclecticism, Juwan's visions are coherent, his voice assured. [Aug 2020, p.88]

While a palpable sense of mournfulness lingers throughout Mia Gargaret, there's a degree of catharsis attached to it too. [Aug 2020, p.89]

Go some way to subverting stodgy blues-rock gender cliche on an LP that takes off on the Tom Petty-ish title track. [Aug 2020, p.94]

Their naked intimacy can be hard to bear. [Aug 2020, p.94]

There's nothing arch about Heavy Nights, only the sound of these gorgeously coiffured tunes. [Aug 2020, p.92]

If you enjoy a record that can gently coax a cathartic tear or two, Monovision fits the bill. [Aug 2020, p.88]

Shah's voice throughout is fantastic, carrying and castigating her listeners along with her, while her brilliant band nails radio-friendly rock, swirling 4AD-style gothic atmospheres, and perfect post-punk attack. [Jul 2020, p.82]

A mutant sound equal parts soft-pop, hard-fusion and psychedelic prog. [Jul 2020, p.80]