The charm of Thanks For The Dance can be found in the tidemark between the lapping waves of Cohen’s poetic self-effacement and the shoreline of our appreciation for his lyrical accomplishments.

Singer and band are in perfect synch throughout, the benefits of a lengthy and approaching telepathic relationship obvious for all to hear.

Eclectic in all the best ways. [Jul 2025, p.105]

Drunk and Sick Of Dreaming carry over Surrender's sophisticated playlist-friendly infectiousness, with Never Going Home's pared-back Nashville mood still as accomplished as it is catchy. [May 2024, p.105]

Crosby’s voice takes you flying back down the decades yet without ever longing for past glories.

Hen Ogledd make music on their fifth album which feels rooted in something more timeless than simple pop. [Feb 2026, p.101]

More rewarding re-evaluation than celebration for long-termers, it all provides a mightily attractive artefact for Stones diehards.

Another step forward from a rare talent. [May 2025, p.102]

The result is Case's finest yet: a record of fire, felling and finely detailed distinction. [Oct 2025, p.132]

For the most part, the Cash sessions are a fun listen you might not return to often, their voices too far apart to really work, despite the obvious kinship. Still, it’s fascinating hearing Dylan as the junior partner – Cash seems much more on the ball – and previously-unbootlegged treats like Bob running through Wanted Man and the Staples’ Amen.

Every track pulses with a live feel, but they’re all underpinned with the best elements of house, live jazz and even ambient music.

Despite the great weight of hype, Tame Impala have evolved into a satisfyingly altered form, both alien and humming.

The rockier songs have a vague whiff of Faith No More’s deepest cuts, or even the lurching noir-rock of Tomahawk. ... On the poppier moments he flaunts his range more confidently than ever. There’s a lot to take in. ... Few bands remain so interesting for so long. The adventure continues.

Bouyed by Reid’s honeyed vocals and Sam Taylor’s chiming guitar, the likes of Richard and Come Home To You may be two of Preservation’s more traditional tunes but are of a simply breathtaking level for such a new talent.

The country accompaniments are elegant and often subtle, yet never dreary. [Jan 2025, p.102]

Suddenly is at its best when blending head, heart and feet to make another smart party album – among Caribou’s best yet.

While MVOTC doesn’t represent a seismic leap from their earlier material, the general feeling is of a much more considered collection, with greater emphasis on song craft.

Generous and unguarded, Twilight Override contains multitudes. [Oct 2025, p.133]

The band’s signature slow riffs and brutal, unison forces are all present, while it’s between these chord changes that the interplay of feedback, overtones, drones and whistles play, against and with, in and out of the bludgeoning drive of the enormous, portentous menhirs of minor melody.

A deft, balanced and measured record.

Iris Silver Mist gently wafts through the metal space of a listener. [Jun 2025, p.103]

Los Angeles and Double Infinity evoke the stream of consciousness brilliance of R.E.M.'s E-Bow The Letter, while Happy With You finds blissed-out rapture in repetition, All Night All Day is the lusty country song of the year and No Fear achieved Zen enlightenment in dub. [Sep 2025, p.103]

What continues to both disarm and comfort about Williams as she glides into her late 60s on the crest of an extraordinary career now entering its fourth decade, is how adept she remains at shifting mood, tone, emotion and musical palette at the drop of a plectrum

While the lyrics are typically sharp, reflecting righteously on "Systemic Extortion", the parlous state of truth and more, the music unspools along almost cosily familiar tracks. [Jun 2025, p.105]

Tracks such as Psychedelic Orgasm and It’s Dark Inside embody the claustrophobic and saturnine atmosphere on what is essentially an underground hip-hop record made by an inveterate envelope-pushing postmodernist.

Segall is all over the place across these 19 tracks which are too much to absorb in one sitting, if ever. Most of his carefree pastiches, bonhomie homages and sloppy costume-party shenanigans merely induce a craving for the long-awaited studio comeback of the mighty Ween.

Simpson’s gentle deliveries benefit from his wealth of experience and mature understanding of the work, making for a richness that imbues all the songs--never more so than on Come Down Jehovah.

It’s not all doom and gloom--though it is mostly chopped-and-twisted electro paranoia.