Melnyk conjures a world that is both sentimental and abstract--a safe space in which to lose yourself. [Jan 2019, p.22]

There's a welcome freshness to Sequence; it may be smartly, deftly constructed, but it feels free and open. [Jan 2019, p.23]

For all its old-time vibes, a typically inspired record from Ferry. [Jan 2019, p.21]

There's no central narrative to this anthology of psych-tinged, countrified canyon-rock. [Dec 2018, p.25]

Despite the addition of some burnished guitar licks, the results are as awful as you might expect and his one original composition, "For Love On Christmas Day," isn't much better. [Jan 2019, p.19]

Crowell conjures a collection both wryly whimsical and devastating sincere. [Jan 2019, p.19]

There are lots of lightly retro arrangements and nods to 1960s bubblegum pop. [Jan 2019, p.22]

A lovely record. [Jan 2018, p.22]

The end result creates an engulfing sonic swirl, recalling the enveloping work of Cluster and Tangerine Dream. [Dec 2018, p.24]

On Reflection can't make any grand claims to originality, but charms with its clarity and light. [Jan 2019, p.25]

The lowering, incantatory "Circles," suggesting Peggy Lee fronting a minimalist Warpaint, and the doomy rebetika of "Loving Loving" stand out, but there's much to admire. [Dec 2018, p.33]

Amid the superior pieces like "No Expectations" and more minor moments of parody and innuendo, jammed endings on songs like "Salt Of The Earth" embrace a real joy in improvisational ensemble playing. ... "Sympathy" also sits apart from the rest of the songs as a separate 12in, much as it towers above the rest of the songs on the album. [Jan 2019, p.40]

It's a tender manifesto of self-doubt, a shout fading into a murmur. [Jan 2018, p.16]

"Wolves Change Rivers" betrays his love for Erik Satie, but "For My Mother" [is] reassuring affection is unquestionably his own. [Jan 2019, p.21]

Gibson's follow-up to 2016's Empire Builder finds her tinkering with the complexion of her sound, bringing piano and strings to the surface, mostly at the expense of guitar. It turns out to be a clever fit for the songs. [Nov 2018, p.29]

Like Go-Kart Mozart or Billy Childish, Argos fashions lyrical witticisms from the commonplace. [Jan 2019, p.17]

Their most accessible and melodic yet. [Dec 2018, p.25]

A sumptuous set of gloriously gloomy ballads that emphasise Moss's expressiveness as a vocalist. [Dec 2018, p.28]

Shabason again blurs genre boundaries with impeccable judgement and such understatedly emotional approach that the tag "ambient jazz" sounds like a slight. [Jan 2019, p.25]

He overthinks the rambling "JTR" and overstuffs the messy collage "Monkey Man."[Dec 2018, p.33]

The outer skein of mystical mystery shelters a clutch of slyly insistent melodies. [Jan 2019, p.21]

It's a warmly pristine, groovily poignant set, with vocals pitched for gender neutrality and an ear for a great hook. [Jan 2019, p.23]

Simultaneously her most formally experimental and melodically palatable yet. [Jan 2019, p.25]

Every track hits its target. [Jan 2019, p.27]

The set's ordering is exemplary, especially given its size, but diving in at random reaps the richest rewards, throwing up unexpected complements and contrasts. ... It's a trip for devotees and newcomers alike. [Jan 2019, p.41]

And Justice For All remains their most pivotal and arguably their most divisive album. ... Lots of demos, rough mixes, studio jams and live numbers that show how powerful the new lineup sounded away from the studio. [Jan 2019, p.37]

This stripped-down set from the Palace/Bonnie songbook is a reminder of what a great singer Oldham has become. [Jan 2019, p.23]

Sparklingly produced, clean-cut and sweetly tuneful songs. [Jan 2019, p.23]