Sonically and creatively, these demos reflect their domestic environment, the realm of the historically valuable rather than the mind-blowing. [May 2019, p.38]

The sound remains satisfyingly Stax/Volt-centric yet also full of left-field touches. [May 2019, p.35]

On this debut album they already sound fully formed, despite only having come together in 2016. [May 2019, p.37]

It's a gorgeous and gutting return to Jurado's Rehearsals For Departure-era roots, wandering and bare, wielding only guitar and voice and recorded in one afternoon. [May 2019, p.30]

These 10 art-pop and jazz-inclined abstractions are as elusive as they are instantly likeable, slipping away from definition even as you're listening via sweet melodic overplaying, elegant spaces and meandering/urgent grooves. [May 2019, p.32]

When You're Ready is a sharply confident debut, as Tuttle proves an expressive vocalist and an idiosyncratic songwriter. [May 2019, p.37]

Idlewild throw together plenty of ideas--without much cohesion. [May 2019, p.29]

It's transfixing and entirely dangerous. [May 2019, p.27]

The Drums are more stupidly contagious than ever. [May 2019, p.27]

Meditative, agitative and seductive throughout. [May 2019, p.32]

Tuba can feel somewhat unwieldy, but in Cross's hands it's anything but. his style a blend of New Orleans brass-band music and a grime and soundsystem culture that's somewhat closer to home. [Apr 2019, p.26]

Tightly structured, lavishly orchestrated, brilliantly realised. [May 2019, p.18]

The covers aren't impersonations. [Apr 2019, p.28]

You're The Man is a bitty, madly varied collection. ... But as a series of discrete and individually brilliant EPs, it's a fascinating documents of the myriad directions that Gaye could have investigated at his creative peak. [May 2019, p.48]

Collins' first album since 2013 sees the singer in pleasingly superb form. [Apr 2019, p.26]

The group channel tasteful elements of the Grateful dead, the Allmans, Pink Floyd, Steppenwolf and CSNY in nine songs that swirl and melt into one one another, forming an album-oriented listen where dual guitars steer the ship, and nascent vocals take a back seat. [Apr 2019, p.29]

There's a biting political edge to the off-kilter "In The Desert," which savages Bush and Blair for instigating the Middle East crisis and its attendant horrors. At the same time, this wouldn't be a Mekons record without a fair dollop of humour. [May 2019, p.26]

She brings Gorecki's great classical prayer to life beautifully, an expression of empathy that feels deep and profound. [May 2019, p.25]

Much of Agora recalls his 2001 breakthrough album Endless Summer: long, processed guitar drones engendering an atmosphere of extreme, if rather familiar, calm. [Apr 2019, p.29]

Only the too-obvious "Lady Liberty stumbles, but even that song is redeemed by a road-hardened band that adds a twangy stateliness to Farrar's outrage. [Apr 2019, p.36]

Herbert enlisted more than 1000 extras to stitch together this patchwork of mournful classical music, keening choirs and parpy Brit-jazz. [Apr 2019, p.31]

It's all held together by the band's well-honed knack for a screwy groove. [Apr 2019, p.39]

There are more fine moments--"powder Man" is softly somnambulant, and the cinematic soundscape of "Kubrick" is an intoxicating affair--but self-editing is notably absent. [Apr 2019, p.39]

Patty Griffin reached something of an artistic peak with 2015's Servant Of Love, a record that distilled her love of American folk, blues and country into an intimate song cycle with a powerful emotional pull. Its follow-up is no less personal, perhaps even more so. [Apr 2019, p.28]

TNP have slimmed down, morphing into a thoughtful electronic pop group with shades of Depeche Mode or late Talk Talk. [May 2019, p.37]

A trove of intimate, impeccably judged delights. [Apr 2019, p.29]

An electrifying collision of cosmic jazz and squalling psychedelic rock, all tumbling grooves and frenzied collective euphoria. [May 2019, p.34]

It's closest to the similarly spare Peace Queer and Agnostic Hymns & Stoner fables, and smider's writing assumes spectacular meta-dimensions. [May 2019, p.34]