Her eighth and arguably most satisfying musical adventure to date. [Sep 2025, p.92]

It benefits from listening in stillness rather than on a speedy walk. [Oct 2025, p.132]

A little more of Final Girl's filmic atmospherics might have added life and range, but when Drank The Sap hits its stride, Witch Fever max the catharsis with satisfying force. [Dec 2025, p.103]

Remarkable album. [May 2026, p.101]

This reckless abandon practically screams out of La Isla Bonita, but the record falls short of total reinvention.

The album itself feels like a lost Oldham classic, it’s a joy to hear him tackling some of the more obscure corners of his repertoire in such an intimate fashion.

III has a highly melodic crossover feel that is somewhat different to many of the players’ other, grittier projects, although the beats remain a little itchy. Songs about crowd mentality and medieval jesters are novel in theme but overthought and bombastically dramatic in their lyrical phrasing.

Despite all the cosmic Englishness on display, Furfour also boasts a deeper side that offsets the saccharine.

Writing to script, the Scottish post-rockers have produced a powerful and fitting score, though as an album in its own right, it lacks the cohesion of their previous soundtrack, to French drama Les Revenants. It’s no cause for dread, but it’s one that doesn’t quite live up to its promise.

With a smooth, olde worlde sound, appealing melodies and impressionistic imagery, the album, at best, conjures up affecting vignettes and, at worst--Giant’s Rolling Pin, about the NSA/Edward Snowden affair--borders on the twee.

Understated is an absolute triumph, matching any of the high-water marks of his past career.

John Congleton's production energises the festival-ready ructions of Cowards Around, though the indifferent arrangements of Quiet Life and Nothing Better struggle to distinguish Shame's snapshots of suburban frustration. [Oct 2025, p.133]

While Vernon's use of autotune is excessive at times, his stripped-down cover of Mahalia Jackson's A Satisfied Mind reminds us that it can be a compelling stylistic choice. [Jun 2026, p.101]

A high watermark in the canons of all involved.

Second LP Seems Unfair offers the kind of melodic prowess, lyrical wit, sensitivity and social awareness that harks back to the days of Felt, Hefner and The Smiths with the band capable of effervescent, wonky guitar attacks more in keeping with the early material of Stateside benchmarks Weezer, Pavement and more recently, Waxahatchee.

These are not easy songs to sing, but Harvey, more than anyone, gets to the heart of darkness within even the most luscious Gainsbourg arrangement.

The group are at their best when melding reverb-soaked, crunchy multiple guitar layers, playing with dynamics atop a kind of jungle-drum thump.

The messages of richly-orchestrated missives like Gun Clap Hero deserve to be heard; hopefully their contagious settings will take them to the masses.

Tracey Thorn is a singular talent, and in a career that spans over four decades she’s achieved much. Record though has set a new benchmark.

A magnificently moving elegy in musical form. [Nov 2024, p.101]

Strange Life makes for a very agreeable comeback. [Feb 2026, p.101]

The problem isn’t simply that he starts the album fixating on his reflection in Mirror and rarely budges. It’s that without a foil to contribute drama or dynamism to his doldrums, Pierce’s echo chamber of mithering is all-consuming.

Far more than background music, this is a reasonably static, and yet moving, listen.

With BJ Cole on pedal steel, backing vocals by Gillian Welch and Bernie Leadon alongside numerous other top notch contributors, there is no doubting the quality of the music on offer.

An engrossing work in which the organic and electronic intermingle to create complex layers of sound; Felder invites you to explore its singular terrain.

A series of Eloe Omoe’s vein-poppingly furious bass clarinet solos follows before a period containing some of Ra’s most unhinged moog playing. June Tyson is given the responsibility of playing interstellar pied piper before a six-minute stretch of keyboard bleeps and whirrs that sonically alternate between an arcade game racing car, space ship and vacuum cleaner. A tough act to follow and in truth the rest of this collection suffers in comparison.

Armageddon In A Summer Dress is brimming with musical and lyrical invention. Sensational. [Mar 2025, p.105]

The album has a twin-guitar roar urging forward fast, furious and catchy numbers - (How How How) How Do You Wanna Be Loved - but there's also a thoughtful side, a deft delicacy on tracks such as Ramona. [Apr 2026, p.98]