It serves as both a reconsideration of what’s come before and a confident step forward. [Jul 2022, p.52]

Back In Black actually manages to sound vibrant and resonant without sounding dated – thanks in no small measure to the immaculate production throughout from Black Milk. [Aug 2022, p.64]

Some will find Cruel Country monotonous; the patient however will be rewarded with an abundance of thoughtful, delicate, often brutally plaintive songcraft. [Aug 2022, p.60]

The long germination period of the project is an indication of the duo’s perfectionism, which unfortunately results in songs that are overworked to the point of blandness. [Aug 2022, p.57]

Despite her apparent striving towards sharpness and clarity, Hatis Noit avoids sterility in these pieces, all eight of which are constructed solely from her voice; while this starkness could leach the emotional impact, instead it is magnified. [Aug 2022, p.53]

It’s less focused, more instinctive in its approach to collaboration; the boundaries it sets for itself are less rigid. This meandering work is vastly more accessible than most of Moor Mother’s catalogue, but no less cerebral and impressive. [Aug 2022, p.52]

Hellfire confidently establishes Black Midi as a distinct musical personality. [Jul 2022, p.44]

Not a radical departure, then, but a very satisfying development of Reich’s totally distinctive stylistic approach. [Jun 2022, p.52]

It’s heavy but utterly lovely music, full of grave strings, piano stabs and deep synth reverberations. [Jul 2022, p.46]

Dunn’s production is broad and volatile yet retains a measure of mainstream appeal. At all times Danilova’s voice threatens to destroy – the compositions that try to contain her, the recording equipment that seems to clip and distort, reverb effects that overload and scream, speakers and ears that feel like they might melt from the sheer intensity. She’s never sounded better than this. [Jun 2022, p.48]

For those looking to block out the outside world and escape into something soothing and sublime, Past Life Regression will most certainly do the trick. [Jul 2022, p.56]

Armed with limited instrumentation and Knapp’s understated vocal, the album’s seven tracks take on a form of storytelling, made alive with synthesized fluttering bat wings, bouts of sax squall and sinewy electronic backbeats. [Jul 2022, p.53]

Joyful, heart-warming, brain-fizzing stuff. [Jul 2022, p.50]

Introspective, emotionally charged pieces such as “Father Time”, “We Cry Together” and “Savior” provide high – or jarring – points on the record, but elsewhere there are periods of lull absent on previous efforts. ... As sonically impressive as his latest album may be, his approach to the topics under discussion doesn’t feel sufficiently thought out. [Jul 2022, p.48]

This is what happens when you expose the oneiric to daylight. It’s jazzy, symphonic, tough, tender, true. Plain magnificent. [Jul 2022, p.45]

As Quelle Chris reverts to esoteric form on Deathfame, one can’t help but miss the sustained melancholy of Innocent Country 2. But there are plenty of delights here. [Jul 2022, p.53]

It’s very easy to get lost in this music, in the sense of immersively absorbed rather than uncomprehending. [Jun 2022, p.47]

It’s very easy to get lost in this music, in the sense of immersively absorbed rather than uncomprehending. [Jun 2022, p.47]

A song cycle following the blossoming and sudden death of a relationship, the conceit frontloads Broken Heart Club with joyous dizzy pop in “Tie The Knot” and the aptly titled but most definitely not saccharine “Sweet”. When heartbreak comes she’s brilliantly poised, pleading on “Heartfelt Freestyle” then flipping a finger to regret on “Missing Out”. [Jun 2022, p.62]

There’s a mite more polish on Reason To Smile than some might favour. But there’s also a rich seam of dark humour and rage worthy of Kendrick Lamar or Silent Eclipse. [Jun 2022, p.62]

The songs are politically sharp and socially conscious, and Vieux sends out darkly nutating tendrils of blue over rolling, ravelling backing. [Jun 2022, p.61]

Not surprisingly, given Marhaug’s presence during the time of global crisis when it was produced, this album has a harder edge than Owens’s previous releases. [Jun 2022, p.60]

The issue with Pusha’s fourth solo album isn’t his insistence on portraying a heartless American striver as if he’s the rap game Al Pacino – it’s that he’s unable to consistently conjure the menacing intensity that enlivened his work with with twin brother Malice as Clipse. [Jun 2022, p.52]

One can’t help but be in awe of the production mastery on display and the confidence with which Matmos have turned a man’s creative remains into a freshly expressive musical instrument. [Jun 2022, p.51]

Suffice to say that future, past and present are safe in the hands of 700 Bliss. [Jun 2022, p.47]

Heavy Pendulum sees the group return with one of the most accomplished releases in their decades-long career, while Scofield’s songwriting spirit is kept alive. [Jun 2022, p.46]

These pieces exude a jazz inflected cool that's immediately intriguing. ... Dramatic and cinematic in its conclusion. [Jun 2022, p.44]

Their words are not protest or polemic, but messages from the frontline of a war that’s being waged under our noses and hidden in plain sight. And also, crucially, it completely slaps. [Jun 2022, p.44]