XOXO is, astonishingly and hearteningly, the sound of a group still finding new ways to be themselves. [Aug 2020, p.24]

While The Streets' five LPs each had a distinct narrative, this is different - skittish investigations into the expanded and exciting taste of a now fortysomething workaholic. [Aug 2020, p.36]

Her fourth album proves that she can apply those [AI techniques from her Circumstance Synthesis EP] to more structured, dynamic songs in a way that's instantly enthralling. [Aug 2020, p.27]

DMA's showcase their ever-evolving chops as they continue to appropriate the sounds of '90s/early Y2K bands such as Oasis, Stone Roses and Doves. [Aug 2020, p.29]

A spectacular return to the tower of song and the game he plays best. Brimming with memorable melodies, swooning arrangements and smart lyrics dreamily sung. [Aug 2020, p.39]

Ultimately, it's an album rooted in the constant collision of rock and pop. [Aug 2020, p.27]

The lyrics are shorn of detail. Hearts are dented, if not entirely smashed, but the emotional core of the songs are harder to locate, because the tropes of country songwriting ave been traded for something less defined. There's a restless energy. ... There's a refreshing purity, too. [Aug 2020, p.31]

The tranquility is transporting and when it ends abruptly after just 34 minutes, the only option is to play it again. [Jul 2020, p.39]

While Williams can operate at either extreme of the spectrum, the softer likes of "Dirt" - a haunting duet with Tom Fleming of Wild Beasts and One True Pairing - suggest where her true forte lies. [Aug 2020, p.39]

This is a strong debut throughout. [Aug 2020, p.27]

Some tracks lean too far towards tastefully decaffeinated worldbeat. But there are soulful depths and deliciously supple rhythms too. [Aug 2020, p.33]

Suffused with optimism and defiance. [Aug 2020, p.34]

Album number nine sees them dipping into some slightly experimental territory. ... But they're at their best in slightly melancholic territory. [Apr 2020, p.33]

Astatke is still a virtuoso but it's mostly BJE who take the lead. [Aug 2020, p.25]

A wide-ranging, guest-heavy collection that keeps one foot rooted in grimy, shuddering, low-end sonics while exploring multiple alternative avenues. [Aug 2020, p.34]

Hard-swinging tales of misadventure. [Jun 2020, p.34]

A New Found Relaxation promises much but never fully delivers. [Aug 2020, p.33]

The Vacant Lots might be cool but they still like to boogie. [Aug 2020, p.39]

Retains the fullness and amiability of his richest work. [Aug 2020, p.33]

Even when they're singing about the horrors of nuclear holocaust -- as they do on the Hendrix-ish "Mushroom Bomb" -- they can't help but sound quite addictively cheerful. [Aug 2020, p.27]

It's bolshy, uncompromising and demands to be played on repeat. [Aug 2020, p.36]

Mordechai is a great record, made by deep listeners who believe that discerning taste does not equate to snobbishness, Through it, we're reminded that good music is for everyone. [Aug 2020, p.20]

The results are successfully restorative, sometimes recalling The Album Leaf's 2000s Sigur Ros collaborations. [Aug 2020, p.33]

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

Often audacious, occasionally unpalatable. [Jun 2020, p.25]

Delicately powerful stuff. [Aug 2020, p.27]

Crackles with a wisecracking energy. [Aug 2020, p.36]

While the dubbed-out "see You When I Want to" nods to ESG, Gentle Grip too often feels more like a limp handshake. [Aug 2020, p.36]