The whole thing underlines how productive McCartney was during this period. [Sep 2020, p.48]

It's beautifully recorded, carefully multi-tracked, but with the freshness and integrity of the live performances feeling intact. Most crucially, it never sounds overcooked. [Sep 2020, p.20]

The album is rarely as memorable musically as it is lyrically. [Sep 2020, p.31]

The unlikely collision between Jimmy Webb and Talk Talk that is "Hell" repping particularly strongly for his new sound. [Aug 2020, p.36]

Nicolas Bougaïeff departs from this template [repetitive 4/4 pulse, set to an unchanging rhythmic grid], using disconcerting shifts in tempo, odd time signatures and Aphex Twin-like experimentation. [Sep 2020, p.27]

There's no contrivance or compromise to be found here. [Sep 2020, p.36]

Among his best. [Aug 2020, p.29]

These are impenetrable walls of off-kilter guitars, skronking saxophones and icy synths, topped off with Richard Butler's mournful rasp. ... For the most part, Made Of Rain cleaves closest to the sense thrum of Talk Talk Talk. [Jun 2020, p.37]

Introspective and tightly wound. [Sep 2020, p.26]

It's as touching, beautiful and dark as any of Collins' records, and even pushes her sound into new territories. 65 years into her recording career, that modern approach to folk music is still yielding treasures. [Sep 2020, p.24]

It's fastidiously realised, taking in gorgeously orchestrated jazz, hi-octane funk and a pristine slow jam featuring Lauren Faith. [Aug 2020, p.39]

Andrews' deft touch with an insidious melody and candid phrase extends whatever solace she finds to her audience as well. [Jul 2020, p.27]

McFarlane paints elegant, jazz-literate shapes over digital beats, syncopated hand drums and glitchy systems noise.[Sep 2020, p.32]

The four-piece deliver their familiar brand of Cali power-pop, at once glossy and heart-on-sleeve. [Jun 2020, p.37]

A Small Death charts her return to functionality with eloquence and real panache. [Aug 2020, p.28]

An intoxicating, instrumental tribute to the wheezing Farfisa organ; propped up only by the clarinet and double bass. [Aug 2020, p.27]

There's plenty here for fans of both gutbucket blues and the rampaging over genres and moods that long characterised The Residents. [Sep 2020, p.35]

Round-up of 10 cinematic tracks underlining his prowess. [Sep 2020, p.46]

Beginners is sweet and sorrowful with a writerly eye. [Sep 2020, p.31]

Lovett has gone (partly) socio-political with his third. [Sep 2020, p.35]

The best tracks retain a vestige of Spank Rock's energy. [Sep 2020, p.35]

This is an all-American band, but there are nods to the rhythmic sophistication coming out of London's jazz scene. [Sep 2020, p.34]

A sweetly sprawling album. [Sep 2020, p.32]

The bristling performances more closely resemble the solo piano excursions of such post-bop masters as Chick Corea and Keith Jarrett, which s no bad thing at all. [Aug 2020, p.33]

This record - Cocker's finest work since This Is Hardcore, maybe - marks the arrival of an adventurous collective who might just be getting warmed up. [Aug 2020, p.26]

An involving double album. [Aug 2020, p.28]

The excellent military beat of "The Aphorist" and almost genteel "Worm In Heaven" are fine point of entry, even if the cacophonous likes of "Michigan Hammers," "Modern Business Hymns" and "I Am You Now" are more typical representations of the band's disorienting sound. [Aug 2020, p.36]

[Hate For Sale returns her] to the totemic sounds of the early Pretenders albums, trusted and familiar territories. [Aug 2020, p.31]