There are barely any duff Sault tracks. [Sep 2021, p.26]

More style than substance at times, maybe, but invariably rich in promise. [Sep 2021, p.27]

They have not deviated from their core virtues: drolly mordant lyrics, instinctive tunefulness and the lo-fi new-wave sensibility that carries it all. [Sep 2021, p.27]

Wherever you care to drop the needle or let the shuffle button take you, the essence of this collaboration and the velocity of its execution somehow hoovers you up and brings you along. [Aug 2021, p.20]

Scott's ability to weave between monster guitar eruptions, refined pop and stripped-back moments that allow her voice to soar is a constant. [Sep 2021, p.35]

The band showcase their wide range on this imaginative and timely covers album. [Aug 2021, p.29]

Stand For Myself is a headphones album, lovingly written, arranged and produced. [Aug 2021, p.32]

A rather good LP of socially conscious R&B. [Sep 2021, p.46]

This neo-disco banger ["Emotion"] overshadows the rest of the record, leaving the listener longing fir those same types of compact, entirely snackable treats. [Sep 2021, p.25]

A most welcome return. [Aug 2021, p.23]

There is less than usual here of the breezy country usually associated with his name. More characteristic of Triage are “Something Has To Change” and “Transient Global Amnesia Blues” – fretful, semi-spoken jeremiads set to brooding backdrops. Crowell has the wit and the gravitas to land these, however. [Sep 2021, p.27]

Wonderfully eclectic and strangely uplifting. [Aug 2021, p.31]

Any spiritual ecstasy on offer here appears to be of a more private kind, although no doubt offering a glimpse of the divine to believers. On other listeners, particularly those unfamiliar with Sanskrit and either ignorant or dismissive of the belief system of which these songs are an expression, its effects will be less certain. But the longer you listen, the more you’re drawn in and the less aesthetically confining the music’s self-imposed restraints seem. [Aug 2021, p.36]

Some of the best moments here are twitchy funk miniatures, driven by tuba basslines, distorted Fender Rhodes riffs and chant-based vocals, which leave you wanting more. [Aug 2021, p.35]

While Downhill From Everywhere climaxes with the ham-fisted “Until Justice Is Real”, the 72-year-old singer-songwriter has otherwise managed to thread the needle by embedding his compassion in consummate craftsmanship. [Aug 2021, p.24]

Aambles beyond his band’s already wide palette to embrace ’70s rock and pop flourishes. Squelchy sequencers and double racked guitars add drama to “One-Way Conversation”, while handclaps and a fuzzy synth bolster the details in the verses of “Almost Home.” [Jul 2021, p.31]

The LP's muscular hooks and unpretentious formalism provide Dylan with the ideal setting for his assured wordplay and signature stoicism. [Aug 2021, p.35]

The Flatlanders exude joy here. [Aug 2021, p.23]

Massed cymbals’ shivering traceries and guitar glints adorn the drones, as sonic quantity bolsters quality, the ritualistic glide of Indian and kosmische influences roiling with stray, fuzzed-up incident, in an inspired meeting. [Apr 2021, p.37]

This is raucous, relentless fun; in Parton’s own words, a musical “life raft” for shitty times. [Aug 2021, p.28]

Flitting between Black Sab homages such as “Busted Room” and the Zep-esque quasi-Middle Eastern “Recessinater”, and shorter rockers such as the Stooges-like “Front Street” and “BFIOU”, which opens with the riff from the Beasties’ “Sabotage” before exploring even scuzzier directions. [Jul 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]

The most emotionally mature and fully realised work Gillespie has delivered in years, laying grainy, soulful, impassioned vocals over sumptuously old-school chansons clothed in vintage orchestral country-rock arrangements. [Aug 2021, p.27]

An album heavy on immersive ambience. However, as the title suggests, there’s plenty of static to be found too – along with touches of deconstructed techno. [Aug 2021, p.24]

The results are spectacular ... Its thematic concerns – memory, transformation and lost innocence – prove a perfect complement too. [Jul 2021, p.30]

Whether observing modern Manson cults gathering “silent as a snowdrift in the hills, or delivering a sunrise eulogy bearing David Berman away, Darnielle’s sympathy never fails. [Aug 2021, p.31]

The Turning Wheel has the feel of a big reveal. Her voice, as dramatic and flamboyant as a young Kate Bush, now pirouettes amid a backdrop of warm brass and orchestral funk supplied by an extended cast of players. [Jul 2021, p.34]

I Know I’m Funny Haha is her most seamless melding of urban country, warm ’70s soul, gutsy classic rock and introspective indie-pop, as she settles easily into the cracks between categories. ... I Know I'm Funny Haha could only been made by no-one else but Faye Webster. [Jul 2021, p.16]