An astonishing return, up there with their best records to date. [Feb 2021, p.18]

They may have opened out their map a little more for Medicine At Midnight, but the Foos' territory remains reassuringly familiar. [Mar 2021, p.38]

It's uneven in places, but "OMW" - a twinkly 10-minute closer written with Vampire Weekend's Ezra Koenig - is a low-key delight. [Mar 2021, p.25]

There's a loose lyrical theme of branding and consumer culture inspiring the maverick meta-pop of "Personal Shopper." ... The Sparks-y spriteliness of "Follower" also stands out, thanks to beautifully falsetto-iced vocal hooks, which further grace the gorgeously forlorn synth-pop of "King Ghost." [Feb 2021, p.37]

The 20-year-old punctuates beautifully languid, trip-hoppy vignettes with a voice redolent of Martina Topley-Bird and a neat line in spoken word poetic musings. [Feb 2021, p.32]

The immediacy is obvious, and the band stretch Yorkston's reassuring vulnerability in new directions. [Feb 2021, p.37]

For the most part, Milosh goes for mood over hooks, but the sultry "Helpless" seductively sports both. [Feb 2021, p.32]

Album highlight "White Sands" is a soundtrack in miniature, the acoustic and electronic tones combining like a neon-streaked empty road. [Feb 2021, p.37]

Jeremy Gaudet's Jonathan Richman-esque speak-sung tones breathe life into protagonists widescreen-daydreaming their way out of drudgery. [Feb 2021, p.29]

It may have been assembled as a lockdown stopgap, but Songs From An Old Guitar is overall glorious, a career highlight in a career full of them. [Feb 2021, p.47]

Humble back-porch jams to relieve the monotony of lockdown. [Jan 2021, p.27]

This handsome sequel stays mostly within their comfort zone of melodic, propulsive dance-pop tailored both to clubs and home listening, an impressive balancing act even if the formula sometimes feels over-polished. [Feb 2021, p.25]

These songs often sound like Broadway-style miniatures tilted at strange angles. [Feb 2021, p.30]

He remains a precise craftsman with a bottomless trove of '60s pop hooks and dreamy melodies, but he upends them with acute-angle riffs and scribbled punctuations. [Feb 2021, p.37]

It's a fine country record refracted through a DIY folk-rock lens. [Feb 2021, p.30]

No major revelations, but plenty of pleasant surprises. [Jan 2021, p.47]

It's a deeply ambitious debut offering. Musically, it ducks and weaves like the shape-shifters that populate its world. [Feb 2021, p.30]

He sings in a hushed, fragile whisper that is a;most unbearably personal. [Mar 2021, p.35]

It is without question a wintering record, but out of this muted musical landscape songs of great and complex beauty emerge. [Mar 2021, p.34]

Skyway Man's fantasy realm is absorbing enough that he can pull off increasingly audacious musical combinations. [Dec 2020, p.38]

The Sleaford Mods we hear on Spare Ribs sound more comfortable in their own skin, relaxed enough to explore their eccentricities. A tart, sometimes topical edge remains. [Feb 2021, p.35]

Drunk Tank Pink triumphs. No less do-or-die in their commitment, these songs are less determinedly dense. [Feb 2021, p.35]

Despite the sombre circumstances, J.T. is a celebratory affair, the elder man bringing a hymnal ruggedness "Far Away In Another Town" and a hearty hoedown spirit to "I Don't Care." [Feb 2021, p.27]

A quality love letter to the music he committed to early on. At times, it's hard not to wish he'd been bolder and a little less faithful. [Feb 2021, p.36]

Bittersweet pop songs are the order of the day, gently psychedelicised. [Jan 2021, p.27]

The Dirty Nil relive those innocent times when callow rock'n'rollers made noise designed to drive grown-ups batshit. [Feb 2021, p.27]

It's a very fine thing when a writer and craftsman of Gibb's standing embraces his own legacy and finds such persuasive ways of embellishing it. [Feb 2021, p. 24]

Dangerous Visions is a curious half-and-half. Side One collects raucous new material. ... Side Two, meanwhile, rests on an exhumed Peel session from 1989. [Feb 2021, p.30]