What's striking, and moving, is how the old communal spirit of Pullman's music feels stronger than ever, despite (or because of) the distances of time, geography and memory that had to be patiently overcome. [Apr 2026, p.56]

Songs like "My House Is Not My Dream House", "Constant Companion" and "Harmonizing With Myself" continue the theme of domestic solitude running through recent work, addressed with an eye for detail that elevates the songs far above standard confessional singer-songwriter fare. [Apr 2026, p.60]

Timing these ten tight tracks around the five or six minute mark, lead single "Crushing Realities", "The Dream In Fragments" and "The Soul Of Everything" move with a surreal, transcendent pressure transportive and gamelan-heavy throughout. [Apr 2026, p.62]

While the individual tracks prove undistinguished as a whole, the chiming microtonal piano contrasting with a constellation of gorgeous synth work on "Orbiting Meadows featuring Clark" is a haunting standout. [Apr 2026, p.61]

Miniawy's trumpet makes an appearance over the moody reversed bass and Auto-Tune of "Reels In 360", while opener "I See The Stadium" pairs his agitated uvular Arabic with Aussel's hulking bass propulsions and the guttural snarls of Lord Spikeheart. [Apr 2026, p.62]

It's probably the most conceptually interesting record Squeeze have ever put out and also one of their most consistent and adventurous latterday works. [Apr 2026, p.60]

The way these four strong musical personalities making up the current quartet are moving forward while acknowledging their history gives Thirteen an extra dimension. [Apr 2026, p.56]

More than just a treat for both bands' fans, this is a genuinely surprising and brilliant collaboration. [Apr 2026, p.51]

Littered with fragments of found voice recordings and beefed up with pumping guitar riffs, Attempted Martyr takes no prisoners and, in the spirit of the group's origin state, efficiently kicks out the jams. [May 2026, p.61]

Accompanied by the group that toured with him for his 2022 YTIJA38 album, together with contributions from a select group of musicians. Their combined improvisational skills give Callahan the room he needs to expand upon how he throws his words out in songs - at times he comes across like a resurrected Lou Reed or a Van Morrison in full Astral Weeks flow. [May 2026, p.60]

Mystical, alluring and straight from the heart, We Are Together Again cements Oldham's reputation as a major force in the singer-songwriter tradition. [May 2026, p.60]

Altogether, there is a fluid, amniotic quality to the record. Listeners may find themselves spacing out, looking out the window or staring at something, sinking into the riffs and the ASMR-like words that emerge - "We are walking in circles", "She dreams in the future", "Impossible drawing" - amid the hypnotic rise and fall of the synths. [May 2026, p.46]

Another delightful batch of off-kilter pop, kosmische dance beat and much more besides. Albeit slightly less eccentric than its predecessor, All Clouds Bring Not Rain is a further indication how Memorials' music works in a variety of mysterious ways. [May 2026, p.60]

"K9 Reliance" indulges in faux harpsichord to conjure a convincing giallo theme, devilishly nervous and hush-hush, with brass swells that underscore the cinematic funk. There are a few odds and ends in the mix, too. "K12 Uplands" is a gorgeous pastoral led by woodwinds, tailor made for some adventure game's soundtrack. On "K13 Vigilant", strings and piano chase each other frantically. "K14 Welbeck" closes the album with a glorious organ dirge, reminiscent of Jenkinson's collaborations with James McVinnie. [May 2026, p.56]

It's not that the album is bad per se. Like Venom, it delivers for an appreciative fanbase. It's just that they could do this shit in their sleep. [May 2026, p.58]

Sunn O))) tend to proceed like a river frozen down to glacial subsonics, or molten rock creeping slowly across parched land, and have referred to the processes of nature in their work before. Here, however, they feel directly linked to some universal essence of landscape. [May 2026, p.57]

It's good enough, in fact, for it not to matter much that it basically peaks at the start. [May 2026, p.52]

Warping songs into strange shapes is no guarantee of success in itself, but while Picton lets his imagination off the leash and his songs take some unravelling, they are structurally sound and melodically adventurous. [May 2026, p.59]

Wendy Eisenberg is a remarkable record for many reasons, but the sublime interplay between Eisenberg's songwriting and Rubio's string arrangements is miraculous, hitting that sweet spot of skill and effortlessness. [May 2026, p.49]

Equal parts joyous and depressing, Distracted is a painfully timely exploration of the psychological and social implications of our tech and media-saturated world. [Apr 26, p.58]

Bright, booming and unhinged in its musical complexity, Big Mama is electronic music pushed to its most futuristic and utopian possibilities. [Apr 2026, p.58]

It feels like a self-conscious attempt to approximate jazz without ever quite committing to it, no doubt partly due to the fact that Flea's horn chops are somewhat rudimentary, favouring languid lines that could generously be seen as resembling Chet Baker at his most unbothered. .... It's hard not to feel the project lacks any of the liberatory qualities one would hope for from a genuine jazz statement. [Apr 26, p.50]

Darkly beautiful release. .... Halo's entropic instincts are a perfect fit for the film in question. [Mar 2026, p.50]

Autechre Guitaris elegant and crystalline, a set of fascinating miniatures composed of unexpected links and gaps. It's as confounding and crafted as an Escher staircase. [Mar 2025, p.47]

The result is a genuinely experimental record, with more than a dash of cheerful craziness. .... The intonation may not be classically perfect, but this is the timbre he wants, and the saxophone can party over a gleeful Latin beat. [Mar 2026, p.68]

Kamaru expertly composes in a broad field. The sounds he favours are expansive on their own, but together they narrate an impossibly vast space, offering a lingering glimpse into the composer's ability to work within constraints. [Mar 2026, p.52]

Although some of its best tracks are undeniable, PLAY ME's signs of the times are for established Gordon-heads only. [Mar 2026, p.50]

Its satisfying blend of genres amplifies the best of what both these artists have to offer. [Apr 2026, p.63]