The result is a beguilingly inquisitive album, its meanings and methods nurtured into rich, sun-blushed blooms.

It's a sleek, hypnotically danceable collection of nicely-crafted tunes; a pan-Afro-pean pop record undercut with electronic ingenuity. [Apr 2024, p.102]

This both feels and swings. [May 2024, p.105]

It's mostly what could be called ballads, although with the mesmerising pop edge of something from the late 50s, all tinkling guitar and bobbling bass. [Jun 2024, p.101]

A few more typically sparse arrangement - as on What's Left To Lose, a standout that fades too early - might have leavened things. But long-time fans will not be disappointed. [Jun 2024, p.103]

The odd, bleeping internal monologue My Name Is Duglas (Don't Listen To What They Say) aside, it's classic Bandit country. [May 2024, p.102]

The second disc hosts material that deemed "mellower". All that means is it's slower in tempo than the earlier tracks and still heavy as fuu-ck. [Jul 24, p.105]

The intimate piano ballad Poor Symmetry, indie-pop of Sign Of A Past Life and the anthemic Wild Geese, Wild Love (think Cat Power fronting War On Drugs) emphasise her versatility. [Aug 2024, p.103]

The torch chanteuse of yore is still much in evidence, but with some pleasing detours into more varied terrain. [Aug 2024, p.105]

This is Amy's album, wild, sometimes snarling songs that, with a twinkle in the eye, namecheck everyone from Warren Beatty to Marianne Faithfull to Hannibal Lecter. .... Very enjoyable. [Sep 2024, p.133]

None of the dozen track outstay their welcome and it's nice to hear Lower putting smiles on faces again instead of pondering life's woes. [Oct 2024, p.103]

Reminiscent of Fela's work at its best. [Nov 2024, p.100]

The album's highlights range from toe-tapping big band swingers (Big John's Special) and serene Ballads (Tapestry For An Asteroid) to more Outre pieces like the epic Friendly Galaxy and the otherworldly Reflects Motion. [Jan 2025, p.92]

Moore's laconic vocal style serves every track well. [Jan 2025, p.104]

On Héritage, they go back to the source, and prove there’s plenty of life to be celebrated. [Jan 2025, p.105]

So full of moments of disarming beauty is Heard Noises that it’s often easy to miss the discomfiting observations within. .... Arguably his best album yet. [Jan 2025, p.102]

This is a dreamily delightful debut. [Mar 2025, p.105]

Upliftingly different. [Apr 2025, p.102]

[Rathlin From A Distance] assert his niche in the near-minimalist canon. .... The Liquid Hour is a contrasting group of ambient electronica grooves. [Apr 2025, p.105]

A suavely stirring reboot, thanks largely to a flair for cinematic style and melody. [Apr 2025, p.103]

Much of it goes beyond kitsch. With a favourable wind and a Rushent, Horn or Moroder at hand, some of these guys (it mostly is guys) could have made it. [Sep 2025, p.98]

While the subject matter is never less than serious, Carving The Stone can be commended for its boldness in addressing it without losing sensitivity, conveyed through Balfe's skillful lyricism. [Sep 2025, p.103]

The rhythms are as timeless as they are tight. [Nov 2025, p.103]

In the extensive sleeve notes, Gedge, with music writer Mark Beaumont, offers valuable insight into the songs that made the cut. [Nov 2025, p.98]

Their innate feel for a hit pop chorus is deployed to best effect on Dearest Amygdala and the soaring It's Chemical!. [Dec 2025, p.100]

A fun, compelling caricature of 80s heavy rock which will be enjoyed by those whose favourite version of Iron Maiden is when they really go overboard. [Dec 2025, p.101]

A solo album full pf easygoing blues, folk and rock that boasts insightful observations about aging and forging forward while navigating the modern world. [Dec 2025, p.102]

The compelling results span creepy lounge music, homebrewed pop, suicide folk, the attempted channelling of Simply Red and a lo-fi glam piece that's about as sexy as the dimmed lights scene from I'm Alan Partridge. [Dec 2025, p.101]