The album appears as a warm, welcoming pool, soaking its balms, and its messages, deep into our bones. [Jun 2020, p.84]

There are straight-ahead, stripped down, old-style blues rockers. ... Also there just the blues - slow beauties that seem to be about depression and being lost, that feel more personal than political. [Jun 2020, p.88]

Dark humour and combustive noise are proven fine bedfellows, and Flat Worms will soon have you slam-dancing as the planet burns. [May 2020, p.86]

At times it's all too much, but Christinzio knows how to burn without crashing. [May 2020, p.88]

He and his songs sound beautifully close-knit. [May 2020, p.89]

The songs on this second solo album are more substantive than those of 2017's Wintres Woma. [May 2020, p.90]

A very fine, if long-gestated, debut. [May 2020, p.93]

Slightly frustratingly, similar changeability [as 2018's Lala Belu] prevails here. [May 2020, p.86]

Best tracks are the most acid. [May 2020, p.96]

It feels both strangely timeless and oddly new. [May 2020, p.93]

A heady cultural cocktail where the Sahara meets the Rising Sun. [May 2020, p.87]

Their cover of Got Love If You Want It is a raw, gritty highlight. [Apr 2020, p.96]

The arrangements within are more ebullient and wide-ranging. ... His subjects - all character sketches of friends or chance meetings - are also multifaceted. [May 2020, p.89]

Yet even at its most downbeat and damaged, this music gleams with a steely determination to be heard. [May 2020, p.87]

Disillusion and disappointment have become fuel for creation, not self-immolation; second-guessing has been replaced by first-hand emotion. ... For the first time in a while -- that The Strokes shouldn't be gearing up for goodbye. [May 2020, p.86]

After 33 years of intuitive playing together they are able to show you their close-up sculpted technique, as if revealing their workings, and then do something so transcendent, so miraculous, that it causes you to believe in magic once again. [May 2020, p.90]

Fine follow-up. ... McBryde's charisma remains centre-stage. [May 2020, p.90]

Kushal Gaya's vocal hooks bristle with political fury as polyrhythms jostle with George Crowley and Pete Wareham's brass riffs. [May 2020, p.95]

It's a beautiful warm bath of a record, but a soporific one too, better suited for wallowing within, rather than getting you moving. [May 2020, p.90]

[If You're Dreaming] has a strong vintage feel. [May 2020, p.88]

Further confirmation, then, that this stalwart of the rave generation, with a little help from his friends, still has plenty of fire left in his belly. [May 2020. p.89]

The musical and emotional ground covered here is remarkable, evidence of an artist who can locate joy inside pain, and whose adventurous, modernist, fearful funk can be movingly expressive. [May 2020, p.88]

There's an early Daptone feel to this strong set. [May 2020, p.96]

Beautiful stuff. More, please. [Apr 2020, p.89]

The amount of recording distortion on some pieces, like on the sparse, meandering piano instrumental Last Of The Lantern Oil, can tip the balance over into ear-buzzing discomfort. [Apr 2020, p.87]

Svelte, mostly acoustic collection is so refreshing. [May 2020, p.94]

Nothing is ever explained, but ambiguity only reinforces Sorry's wonderfully slippery presence. [Apr 2020, p.95]

Showcases [singer Yukimi Nagano's] full emotional range. ... Six albums in, now, as ever, Little Dragon deserve far more attention. [May 2020, p.94]