With the entire 10-track affair compressed into just 25 minutes of vaguely expressed melancholia, this flimsy career coda is not the grandly melodramatic Lynchian finale that Li's doom-diva shtick deserves. [Jun 2026, p.32]

There's nevertheless an easygoing air to the duo's otherwise experimental-minded pieces, which began as spare guitar instrumentals by Portner that were then warped, distorted and reshaped into beguiling psych-folk forms. [Jun 2026, p.29]

"My Heart Is In Your Hands Tonight", a fusion of "Needles And Pins", "September Gurls" and "Go All The Way", boasts the signature flair of a Michelin chef. Brian, meanwhile, breaks new ground with the harmonically adventurous closing set piece "Your True Enemy". These "spot the reference" whizz-kids have grown into formalist savants. [Jun 2026, p.32]

She's radio-ready with the first cut from Train On The Island. Taster single "One Stop" is the earworm of the album. [Jun 2026, p.24]

Remember The Humans makes sumptuous use of its star talents Feist and Hannah Georgas. .... But a handful of hazier, more ruminative mantras are harder to grab hold of. [Jun 2026, p.36]

Sol. Hz feels skeltal, with saffron threads of treated guitar slicing through piston-pulse rhythms and reverberant bass. [Jun 2026, p.34]

Long Wave Home is full of innovative arrangements and quirky vocals, but it's equally stuffed with great songs. [May 2026, p.30]

Choruses are big, lyrics purposes stripped, side and Hammond summoning rock's halcyon days. [Jun 2026, p.30]

Line for line it's her best and funniest album in a decade. [Jun 2026, p.33]

There is a gentle healing touch to Angel In Plainclothes. [May 2026, p.29]

The live-off-the-floor Peaches! is the antithesis of 2024's overcooked Ohio Players, the duo's nadir, and a delectably scuzzy sequel to Delta Kream, complete with another seductively squalid William Eggleston cover photo. [May 2026, p.26]

Live Forever crackles with outrage and compassion. [Jun 2026, p.32]

It's U2 reconnecting with first principles, all big choruses and defiant optimism, and is confidently glorious. [Jun 2026, p.35]

Whether you choose to hold the eco themes in mind or simply revel in its textures, Requiem is a gripping listen, a powerful late work from a veteran who has weathered more storms than most. [May 2026, p.24]

With Orange his style cuts loose and shifts around, relaxing into large, at time echoey spaces while recalling '70s Bowie and Lenon and The Verlaines, though not entirely forsaking jangle. [May 2026, p.37]

While all this makes for a rich, dense and sometimes overwhelming offering, Amos still ensures there's some light amid all this darkness. [May 2026, p.25]

The songs are largely Solomon accompanied only by a primitively strummed acoustic guitar, a sparse but effective backdrop to confessional odes about facing fears. [Jun 2026, p.34]

As much as Volumes: One demonstrates the power of the collective, Vernon's own extraordinary voice remains the star of the show, whether delivered straight or stunningly refracted through his custom Messina effects unit. [Jun 2026, p.42]

Bid's songs are as dapper as ever, their concatenation of light-footed pop, bossa and la variete winsome and delightful. [Jun 2026, p.33]

They're every bit as gleeful as they are virtuosic. [Jun 2026, p.26]

The thoughtful intimacies of Wendy Eisenberg make for some of their potent artistic statements yet. [Jun 2026, p.29]

For all the overwrought sentiment, A Wave... is strangely compelling. [Jun 2026, p.35]

She is in her Hot Gossip element on the camp, gasping electro of "Sauna", while the Morricone-referencing "Ride" channels Sheila B Devotion by way of early-'90s Madonna and the title track is sheer seduction in silk pyjamas. [Jun 2026, p.35]

Grohl claims the title track set the tone for this self-produced set, which squares with its adrenalised, garage-rock push, though not its cheeky nods to Quo and ZZ Top. Variety is the byword. [Jun 2026, p.29]

Here they come dressed in post-punk garb. The arena singalong "Wild Rut" mutates into a piece of motorik new wave; the toytown confections of "Leave You On A High" and "Loyal" both come wreathed in ice gothic synths and Peter Hook-style bass plunking. [Jun 2026, p.33]

Plaintive harmonies pull on heartstrings, furthering the pair's reputation as modern Americana's Everly Brothers. [Jun 2026, p.33]

Selections from wake Up The nation and Sonic Kick stand out, especially the former's "No Tears To Cry" and the latter's "That Dangerous Age", but it's the times when he turns back the clock or nods to his influences that make the deepest impression. [May 2026, p.51]

The title track ends proceedings on a high, with Sheryl Crow on backing vocals, a smattering of mandolin and a semi-surreal spoken interlude in which Starr sounds ever so zen. It ends, as it surely should, with a single snare shot, delivered like the most emphatic of full stops. [May 2026, p.30]