The result is a rich, expansive yet considered album of indie rock meets shoegaze. [Aug 2025, p.32]

I Quit is at its best when the trio juice up old tactics with a jolt of the new. [Aug 2025, p.31]

Revelatory. .... The set offers great insight into Springsteen's creative process. [Aug 2025, p.50]

Field recordings, ASMR, personal effects and various metals combine to conjure some magical moments. [Jul 2025, p.31]

A bumpy ride overall, but rewarding. [Jul 2025, p.37]

American Romance is agreeably heart-on-sleeve. [Jul 2025, p.31]

Classy debut. .... Leaves you in no doubt who carries a great deal of weight in Ride. [Jul 2025, p.33]

Lucy Gooch's early life as a chorister feeds into Desert Window's beauteous soundscapes, looping her gentle soprano voice over gauzy layers of synths in a seamless shift of classical ambient, jazz and dream-folk textures. [Jul 2025, p.28]

Every bit as special as promised. [Jul 2025, p.29]

Their fourth album is authentic in the resistant lyrics of Yildirim originals. [May 2025, p.39]

An album that is as genuinely moving as it is pulsing and hypnotic. [Jul 2025, p.37]

Wolfe's voice prominent on the shimmering "Hopelessly At Ease" and tremolo-bathed "Shhh", recalling Julee Cruise;s otherworldly work. .... Elsewhere, there's an edge. [Jul 2025, p.27]

This LP is accordingly freeform and exultant. [Jul 2025, p.29]

Take “Breakfast On The Train”, among the most involving songs this storied chronicler of the heart has ever penned. .... The other seven tracks on this self-contained album are no slouches either. [Jun 2025, p.32]

There are rum choices (Ex-Easter Island Head, Craven Faults), generic pumpers (Sally C, Shanti Celeste, Daybreakers) and moody mates (Mogwai, The Twilight Sad, Deftones' Chino Moreno), while surprising highlights include Daniel Avery's "Drone:Nodrone" widescreen prowler. [Jul 2025, p.26]

An ambitious collaborative affair showcasing female and non-binary musicians. [Jun 2025, p.33]

The covers from less celebrated acts support the premise most intriguingly. [Jul 2025, p.49]

Its heady and timeless distillation of dub gospel, disco excursions, molten psych rock and soulful swagger sounds more like back to the future. [Jul 2025, p.37]

Resulting in a most welcome return for this singular artist. [Jun 2025, p.42]

Eight lively compositions that strike a sometimes uneasy balance between structural rigour and woolier, woozier inclinations. [Jul 2025, p.29]

Talkin To The Trees finds Young largely preoccupied with matters closer to home. “Family Life” begins as an open-hearted acoustic address to his children – until a jarring reference to his grandchildren, “who I can’t see”. He follows this with “Dark Mirage”, a glowering ball of knotted noise. .... The mood shifts with “First Fire Of Winter”, a hymn to domestic happiness in Colorado with Daryl Hannah and the first of three gorgeous country tracks on the album. [Jul 2025, p.28]

The addition of Chad Kelly's orchestral arrangements to the band's initial recordings strikes decisive new ground. [Jul 2025, p.30]

Remembering Now is the deeply heartening sound of an artist recognising himself. [Jul 2025, p.34]

It's rich in moods and textures, variously lean and percussive, euphoric, foreboding and melodically vibrant. [Jun 2025, p.31]

These compositions are crammed with imaginative flourishes. [Jul 2025, p.33]

An hour-long piece of generative music in Discreet Music's mould. [Jul 2025, p.27]

Boy, so they know what they're doing on this whipsmart debut. [Jul 2025, p.31]

A surprisingly moving reflection of the big issues - family, death and companionship - as he processes his feelings through caustic noise and deep-flanged techno. [Ju 2025, p.31]

"No No Yes Yes" is way more an earworm than it has any right to be - but fluttery vocal flourishes ("Hell Island") and renegade horns creeping through the mire ("Golden Teachers") show there is still fun to be had at the end of the world. [Jul 2025, p.27]

Here he's in lo-fi mode, growling in a soft tenor voice over joyously jagged acoustic guitar backing. [Jul 2025, p.33]

He makes exultant use of his fellow musicians' capabilities to go out on a demented cultish high. [Jul 2025, p.36]

Little Simz' identity shines through on this bold, vibrant and genre-busting record. [Jun 2025, p.35]

Their masterpiece. .... They've matured- not like a fine wine, but maybe like a magnificently ripe Wensleydale. [Jul 2025, p.20]

A sublime debut. [Jun 2025, p.30]

An intriguing collection that reveals more of itself with every listen. [Jun 2025, p.31]

Seething electronic undercurrents dredge depths of barely concealed rage. .... And amid the storm, moments of tenderness. [Jun 2025, p.33]

Running at 33 fat-free minutes, With Tramped By Turtles is immediate evidence of their comfort as ensemble players. .... The sense is of both parties yielding to the moment, guided by instinct and decades of fluency in their respective practices. [Jul 2025, p.24]

Uncharacteristic moves brings an intriguing dimension to Berninger's inward-peering persona. [Jul 2025, p.26]

Quade's trump card is the way they balance graceful solemnity with little sparks of discontent. [May 2025, p.35]

It's a warmer, less brittle listen that still pushes at production conventions. [Jul 2025, p.26]

[The album is littered with songs that are grand, detailed and ambitious. [Jun 2025, p.39]

Even when the sonic mood broods on "Radical", the optimistic sentiments (quoted in the album title) reflect a creative force in rude force. [Jul 2025, p.27]

At times it's too MOTR for its own good, verging on easy listening - but who would blame these two, 82 and 73 respectively, for kicking back in the autumn of their years. [Jun 2025, p.39]

Contains some of their most objectively beautiful songs. [Jun 2025, p.41]

Instant Holograms... offers a kind of manual on how to resist the negativity and reconnect with society. Alternatively, it's another super-fun Stereolab album full of obscure synth blurps, nifty lounge-pop tunes and gnarly motorik wig-outs. Either way, you won't be disappointed. [Jun 2025, p.24]

We have properly zippy bangers for the moshpit in Atomic Revelations, These Scars Won't Define Us and the monstrous Addicted To Pain - but there's exploration aplenty here, abd the band sound all the better for it. [Jun 2025, p.103]

A deliciously bubbling cauldron seasoned with ladles of Scott Walker melodrama and a generously pinch of Bowie-inspired balladry. [May 2025, p.33]

The playing is as eloquent as ever, dextrous but never overtly showy, while Richard Wats' voice delivers a pleasingly plaintive yearn. [Jun 2025, p.41]

The dilapidated English fairground has served as a metaphor for the vicissitudes of the music business for everyone from Ray Davies to Kevin Ayers, but it's rarely been so vividly, furiously and poignantly realised. [Jun 2025, p.35]

Easy listening it's not, yet there's defiance, too ("You Mustn't Show Weakness") and even transcendence ("A World Of Love And Care") before Furman ends with a posutively harrowing cover of Alex Walton's emotionally fraught "I Need The Angel". [May 2025, p.31]

They're following their "first thought" instincts while allowing space for the full expression of Garbus's mighty soul voice. [Jun 2025, p.41]

Poetic ruminations largely accompanied by sparse piano and string quartet ("Coming Home", "Time To Go"), with the occasional curious detour. [Jun 2025, p.39]

The wistful allure of the heady old days is strong as he ponders the sacred but mostly the profane alongside a fiery Lisa O'Neill on "Poca Mahoney's". But he also finds slapdash inspiration on his doorstep in bucolic Normandy. [Jun 2025, p.31]

The title track's anthem of righteous '60s-style fight confirms serious intent to add to Lowell Gregory's legacy. [Jun 2025, p.34]

A haunting collection which points towards renewal. [Jun 2025 p.35]

Several tracks here resemble conceptual art installations. .... But others movie in a poppier direction. .... Best of all might be "The Men Who Dance In Stags Heads". .... With help from harmonised backing vocals, woodwind countermelodies and some dreamy electronic flourishes, it somehow manages to turn this dark tale of the rural poor's response to the Industrial Revolution into something sunny, joyous and beatific. [Jun 2025, p.38]

It's noisy, riotous, guttural stuff - old-school noise rock to its core - that very much picks up where the band left off. [May 2025, p.33]

It reprises their indie-modified take on panoramic, heartland rock and synth-pop, though with little emotional impact and no clear intent. [Jun 2025, p.30]

The Road To The Sea is a blithe but bittersweet affair. [Jun 2025, p.35]

An album that feels delicately versatile, as well as a truly singular bit of leftfield art pop. [Jun 2025, p.33]

Laessig and Wolfe show their range on the soaring country soul of "Orange Blossoms" and demonstrate the difference between overwrought emoting and dynamic melodrama on "Final Days". [May 2025, p.33]

Her 10th album steps back from the literary conceits and high concepts of her last couple of albums and finds humility and grace amid the "permanent emergency" of the present. [Jun 2025, p.41]

At moments conjures Steely Dan, Little Feat and Weather Report while stretching into new territory. Constant shifts in tone, tempo and scale keep this 14-track, 90-minute opus in constant motion. [May 2025, p.31]

The delight in Sandwell's music is the way it balances pummelling rhythms with an atmospheric quality. [Jun 2025, p.39]

Packed with musical and literary references, there's a lot to unpick, but tracks like "The Catastrophe (Good Luck With That, Man)" show the band still have a knack for pop hooks, albeit not as lo-fi as before. [Jun 2025, p.70]

Elemental and beautiful. [Apr 2025, p.31]

An album of songs encompassing beguiling naivety, terse wisdom and twinkling regret. [May 2025, p.30]

Both share an inclination towards the transcendent, and Totality offers further proof they're operating on much the same wavelength. [Jun 2025, p.35]

Against all odds it works, distilling shots of Bowie, Billy Idol and inevitably, Pulp into a surprisingly potent cocktail of list and regret. [May 2025, p.35]

Ghedi expertly shapes traditional tunes, covers and dazzling originals into a deeply personal vision. [Feb 2025, p.35]

"The Outer Region Of The Universe" is an appealing ambient workout, while "Co-Pilot" is an ever-mutating bossa nova. [May 2025, p.87]

Kuti plots a way forward with the high-energy "Shotan" and "Corruption Na Stealing", his message ultimately uplifting. [May 2025, p.32]

it's a densely layered, frictional set that matches emotional heft and musical invention in equal and impressive measure. [May 2025, p.39]

One of the most compelling albums Tyler has made. .... Time Indefinite seems to stare into the heart of what the country is tight now, in all its fragmented, polarised turmoil; the state of the nation in perfect sync with Tyler's own troubled state of mind. [May 2025, p.26]

A predominantly female choir features throughout, boosting Taylor's crises of confidence on "Focus Is Power" and "What Now" into communal rallying cries. But there is fun here too. [May 2025, p.39]

The set charms and thrills. [May 2025, p.29]

Where Moor Mother's usual free jazz band Irreversible Entanglements give warm instrumental life to poem which are ultimately hopeful for change, Sumac offer grinding feedback symphonies. [May 2025, p.39]

The Great Learning Orchestra approach Ono's instruction pieces with integrity and wit. [May 2025, p.35]

Embracing his Māori heritage and language when his songwriting faltered in English has, though, taken Williams into more nakedly exposed realms. [May 2025, p.39]

The performances are entirely unmediated, taped in the open air like an old-style field recording with the cicadas and birds chirping gloriously in the background. [May 2025, p.31]

The results is both familiar and strange. [May 2025, p.33]

A further example of his fluency in the ancient, internationally shared languages of wonder and imagining. [Apr 2025, p.36]

Though the apple doesn't fall far from the electronic/art-rock tree, the writing isn't as fully realised as TVOTR's and the playing lacks their meaty resonance. [May 2025, p.27]

Antigone is one of most intelligent, beautiful and entrancing albums you're likely to hear all year. [Apr 2025, p.26]

"Dirt" and gentle gut-wrencher "Showdown", on which Baker takes vocal lead, boast the same sparse, clear-eyed lyricism of her 2021 album Little Oblivions, while Scott's earthy alto is the perfect foil, whether campfire storyteller or wisecracking sidekick. [Apr 2025, p.27]

it's a fitting summation of a remarkable career. [May 2025, p.36]

Her most gently ambitious and dazzlingly diverse album to date. [Apr 2025, p.32]

The highlights are revisitations of songs from Laughing Clowns - "Collapse Board", in Particular, is as vicious, mordant and highly strung as ever. [May 2025, p.32]

It's haunting, purgatory stuff. [May 2025, p.39]

It's a wild ride, by turns embracing and disorienting, its tracks ranging from brief instrumental stings to stately arias, though the highlights are the moments when Longstreth's pop sensibility is most audible. [Apr 2025, p.35]

Sable, Fable is an album that is felt as much as heard: the contraction of its opening tracks, the release of its love songs, the resolve of its closing numbers. [May 2025, p.34]

The record prompts leaning in, not least of all for the gentle, cantering insistence of "Have Heaven" and "Our Hearts In A Room", with its soft piano and brush work. [Apr 2025, p.29]

If "The Liquid Hour" is restless over a longer stretch, its conclusion is nonetheless charming. [Apr 2025, p.39]

Echoes of early MGMT also haunt the like of "Delete Ya", but he's at his best when he lends a touch of falsetto-sung acoustic soul to "Potion" and "Fly" floats off into wistful wanderlust. [May 2025, p.29]

In the end, it comes down to little moments of bliss, and those seven or eight words. "I don't know how I made it" Scott sings, as Taylor Goldsmith essays an angelic harmony. "but I made it". As a funeral march, it's a humdinger. [Apr 2025, p.22]

Though still hyper-literate, the sound away from the semi-spoken ballads tends less frantic than The Hod Steady, from the Cars-like new wave of "postcards" to the distinctly Springstonian "Luke & Leanna". [May 2025, p.29]

It's relentless, formulaic and irritating - and although things improve hugely when they drop the bombast on later tracks such as "where It Belongs", "Blood On The Page" and the gorgeous "Carry On", by then it's almost too late. [May 2025, p.33]

Melodic beauty at times gives way to oversweet twinkling, but "Modigliani" and "Most Wanted Man" are winners. [May 2025, p.29]