It packs copious groove, Monument Valley-scale riffs, decent songs, and an Al Green homage which only lacks a Premier League singer to take it to the heavens. [May 2019, p.119]

A record of a very fine sort. [May 2019, p.110]

It's a thing of grief-blasted beauty, and Gibbons brings tender pain to these words of lost children and mothers, her voice rising and falling impressively to the the occasion. [May 2019, p.112]

It's difficult to sit through, yes, but that could well be Herbert's smartest reflection of the times. [May 2019, p.112]

Even when it perilously strays into minefields of muso, Side Effects is never forbidding math rock, thanks to its playful and sterling grooves. [May 2019, p.116]

The two 40-minute "acts" open with cinematic flair, building from atmospheric, Mark Lanegan-assisted opener Requiem (When You Talk Of love) to the Massive Attack-like turbulence of Nothing To Give. The second act proves less assured. [May 2019, p.116]

Despite its occasional missteps, this is a highly impressive debut. [May 2019, p.108]

My Finest Work is definitely a high watermark, and one that deserves to reach a bigger audience. [May 2019, p.117]

Excellent, soul-infused debut. [May 2019, p.112]

The West Londner's debut is startlingly intimate, full of soulful, jazzy echoes of a lonely city. [May 2019, p.116]

While it's undoubtedly the frontman's vision at play here, it's the alchemy between the siblings that turns these songs into something truly special. [May 2019, p.106]

Robust structuring is a blessing and curse: for all the frills and trapdoors, Ex-Hex's workmanlike rhythms eventually get monotonous. [May 2019, p.111]

Some of the best [tracks] of Rose's career. [May 2019, p.116]

Breezy, fitfully arch--if ultimately untaxing--indie rock is the order of service here, while the odd dappling of analogue synths does little to suggest it was recorded this side of the millennium. [Apr 2019, p.116]

A fake band they might be, but it makes for a solidly enjoyable listen. [May 2019, p.111]

Newton's ups and downs might not always be fun, but they make for gripping listening. [May 2019, p.108]

A late-career peak. [May 2019, p.115]

Walker distinguishes himself from the herd with the frenetic, chest-beating chorus to the mighty Dominoes; the shyly addictive duet with Zara Larsson, Now You're gone, co-written by Fulham FC Women striker Chelcee Grimes, and the bereft Angels, all of which sparkle in very different, yet equally beguiling ways. [May 2018, p.116]

Though rhythmically powerful, it's Hutchings's fluttering, forceful sax that is the totem around which this album prances with energy and adventure. And it's a blast. [May 2019, p.108]

After years of playing to fanbase expectations, Gray has reinvented not only himself but raised the bar for folktronica. [May 2019, p.112]

Chai specialise in indie-pop confections, but lean in close and you're swept into an anarchic whirlwind. [May 2019, p.108]

Explores the furthest reaches of what its creators have christened "junk-shop glam." [May 2019, p.119]

You could break your teeth on their solid pop structures, especially on Hated By The Powers That Be, but there's a volatility in these touch-paper guitars and flammable vocals, that ensures Brickbat is never straightforward. [May 2019, p.115]

With a singular perspective though, Hand Habits are in a lane of their own. [May 2019, p.111]

Forster's songwriting is crisply understated, his salt-and-pepper voice perfect for the succulent storytelling for No Fame and Life Has Turned A Page. [May 2019, p.111]

In Search Of works best when swept up in a wave of wistful optimism. [May 2019, p.111]

An expertly fashioned LP from a duo who know how to add style to substance. [May 2019, p.115]

A reminder why she's adored by many. With Palmer's dramatic piano and piercing vocals offset by lush orchestration, it's short on whimsy but long on Big Topics. [May 2019, p.115]