A set of 12 colour-saturated, avant electronic-soul tracks, where Sumney's extraordinary voice is strong, clear and central to the mix rather than one element of it. [Apr 2020, p.37]

While Hutchings' trademark, frantically circling sax figures are prominent, it's the album's sombre moments that prove the most powerful. [Apr 2020, p.35]

Hearing these instantaneous, improvised rituals makes the world feel a little less huge. [Jun 2020, p.29]

If Deleted Scenes feels somewhat anachronistic, it doesn't blunt the quality of the songs within. [Jun 2020, p.37]

Crockett's warm, buttery vocals melt through his latest collection, which delves into mid-century cowboy soundtracks for its cinematic plushness and moody grace. [Sep 2020, p.28]

Terrific follow-up. [Oct 2020, p.29]

The new album is singular in its conception and an impressive leap forward in terms of execution. [Nov 2020, p.20]

This is the sound of celebration of life, and of music escaping confinement and coming to be freed. [Dec 2020, p.20]

Surviving on the present, these songs infer, may be hard. To process this, he uses expansive, hypnotic arrangements: winding guitars, jazzy undertones, sturdy melodies sent into the ether. [Jan 2021, p.23]

It's a rich ensemble sound, full and complex, but not overly dense. [Feb 2021, p.30]

Several tracks sound like ruminative 1970s jazz breakbeats that have been sampled by hip-hop DJs. [Nov 2020, p.33]

On older Bartx compositions "Uhuru Sasa" and "Dr Follows Dance" they sound like a Herbie Hancock-less Headhunters; while "The Stank" is a jaunty boogaloo. [Jul 2020, p.27]

Certainly a claustrophobic listen, and not for the faint-hearted. [Feb 2021, p.25]

The prevailing mood is one of stately elegance but there are flashes of wit, too. [Jun 2021, p.25]

Marten’s stripped-back early work drew comparisons to Lucy Rose and Nick Drake, and while her voice is as gentle as ever, a wider sonic palette adds both brightness and depth. [Jul 2021, p.31]

At 68, Hiatt is producing some of the best work of his career, mapping his inner life with an eloquence that most can only aspire to. [Jun 2021, p.24]

I Be Trying sounds as stark and untamed as a field recording, belying the perfectionism with which it was made. [Aug 2021, p.24]

“Concrete Tunnels” and “Hari” communicate the cold isolationism of deep space. But deeper in, the album deftly channels the film’s themes of memory and consciousness, with “In Love With A Ghost” achieving a kind of terrible beauty. [Aug 2021, p.29]

Carnegie Hall has its own distinctive vibe, with the songwriter coming to terms in real time with his burgeoning, sometimes over-enthusiastic fanbase. [Nov 2021, p.49]

With each track the listener sinks deeper into their world, and though the punchier rap numbers like "B£E" cut through, these scruffily celestial miniatures add up to present a compelling picture. [Dec 2021, p.33]

On this generous and kaleidoscopic soul album, Harding holds nothing back. [Dec 2021, p.30]

You Get It All shows no dip in quality. [Nov 2021, p.26]

This is chamber music taken into a different dimension. [Jan 2022, p.30]

The Sea Drift owes something to the classic sounds of Kristofferson, Gentry, Chips Moman/Dan Penn and Glen Campbell, but there’s no throwback nostalgia here. The Delines’ way with romance is all their own, and for 41 sweet, orchestral minutes, time is somehow suspended while we watch with our ears. [Mar 2022, p.34]

Flicker is never derivative or predictable, with Bell using these influences to craft often beautiful songs, from the groove of "riverside" to the lovely strum of the Simon And Garfunkel-influenced "lifeline" or the springy disco-beat of "Sidewinder." [Apr 2022, p.32]

Paint This Town is the work of a group who understand that the genre is sufficiently robust to withstand an amount of affectionate roughing up. [May 2022, p.30]

The thoughtful A Beautiful Time finds Nelson in remarkable voice, giving thanks for a life well-lived over songs that feel wise and wily without being overly sentimental. [May 2022, p.30]

The album never becomes a dry documentary, though, because the music adopts the station’s spirit of dissent and subversion. [Jun 2022, p.31]