A future late-night classic. [Jul 2020, p.80]

Though there isn't a dud in Apple's back-catalogue, she has never sounded quite so liberated and artistically sure-footed as this. [Jul 2020, p.86]

These 10 duets/duels can be pretty gnarly, but there are beautiful epiphanies, too. [Jul 2020, p.82]

Her fourth album has a gently-assured, incantatory feel. [Jul 2020, p.78]

This second RVG record finesses a precision indie-pop sound hinged up on Reuben Bloxham's chiming guitar, equal parts Johnny Marr and Darklands-era William Reid - a classy backdrop for one of 2020's most arresting batch of lyrics so far. [Jul 2020, p.78]

The everything-but-the-kitchen-sink sonics are matched by an unrelenting emotional honesty. [Jul 2020, p.85]

Powerful stuff. [Jun 2020, p.93]

This retreat to classical roots is soothing, if a little one-note. [Jul 2020, p.88]

Joan Wasser's second covers set finds romance in Prince's lust-blind Kiss and innocence in the Strokes' Under Control. [Jul 2020, p.88]

Serene, mostly, where free improv is usually abrasive. [Jul 2020, p.88]

Earnestness often rules. ... They're better at slushy, Radio 1 epics and louder, brasher tracks. [Jul 2020, p.78]

Despite playing with pop forms, Set My Heart On Fire Immediately holds Hadreas's experimental shape, his artistic line. ... A slow burner, in every way. [Jun 2020, p.94]

With its acute portraits of a troubled and tangled life, Reunions is ultimately a story of redemption through fatherhood and self knowledge, epic country-soul opener What've I Done To Help setting the mood perfectly. [Jun 2020, p.95]

It's all carried off with the panache and confidence of a group making their first, not 24th, album. [Jun 2020, p.89]

Shape of Light harbours hues of Nick Drake, but occasionally Modern Studies' mellow beauty drifts into Enya-land. [Jun 2020, p.90]

The album is crowned by the extraordinary, seven-minutes-plus Death Engine, where a gospel feel gives way to a lengthy, rolling, Bach-like coda. On an otherwise tonally unified album, this is where Linden's emotions are at their rawest. [Jun 2020, p.89]

The freshness of allowing us into his private world, most importantly, fuels Lanegan's third rock/electronic beauty on the bounce. [Jun 2020, p.86]

Earworms abound. [May 2020, p.96]

Two nuanced, outstanding duets with French avant-popper SaraSara help lighten the all-consuming existential despair. [Jun 2020, p.91]

It sounds as spare and intimate, as if Jurado were singing inside your head. The songs are up there with his best. [Jun 2020, p.91]

10 seamless melds of indie guitars and electronic pop, stuffed with spry choruses and poetic self-castigation delivered in Toledo's appealingly crushed bleat. [Jun 2020, p.86]

A piece of music caught between the human and alien, the reassuring and the uncanny. [May 2020, p.91]

Intended as a chilly-pastoral instrumental cycle for piano, three cellos and string quartet, but Los Angles sound designer Jennifer Pague pitched lyrics for four tracks and a more personal narrative took shape, evoking solitude and morbidity. [Jun 2020, p. 93]

[The new songs] have a compression and pop playfulness often lacking from his albums, yet still manages to address the complex "every feeling" emotions of high school students. [May 2020, p.91]

A giddy, unpredictable pop record that put new spins on every cliche it touches, while Benson;s innately McCartneyesque melodic gift successfully sells every occasionally saccharine lyric. [Jun 2020, p.88]

A return from the wilds. ... Some of the best vocal melodies Tabish has yet channelled. [Jun 2020, p.93]

Only a droll stab at Dueling Banjos shades into the hokeyness that could've cursed the entire project. [Jun 2020, p.95]

While the drum-less duo reach a wonderfully womb-like stasis amid Moth To The Flame's nine drawn-out minutes - Weber's whispers all at sea in a deep duvet of guitars - they're also unafraid to explore darker territory. [Jun 2020, p.91]