Although the tongue-in-cheek title nods to the familiarity of these new songs, there's no shortage of ideas. [May 2020, p.27]

The songs here are mostly sparse and reflective. [May 2020, p.27]

It never gets deep. ... It's stupid, daft, and no wonder that when Josh Homme's looking for a night of goofy escapism he goes to see The Chats. [May 2020, p.26]

The album's musical tone is well judged, with Hiatt equally versed in flinty roots-rock and urban country songs. [May 2020, p.26]

The heart-tugging moments play to that devastatingly effective Appalachian-style yodel in Bulat's voice. [May 2020, p.25]

It's aggressively zen numbers such as "Enter Exit" and "Water" that finally succeed in dragging you up to that higher plain. [May 2020, p.23]

Warm, uplifting and fizzing with both passion and virtuosity, Rejoice is not only a fitting last will and testament from Masekela, but a glorious affirmation of music at its most potent and universal. [May 2020, p.22]

As the music heads dynamically towards its conclusion, you feel as if you are in safe hands, a life raft on a wave of crushing power. [Apr 2020, p.18]

It's an epic of self-conscious protest, asking questions about the way the global and the local become corporate, homogenous anti-realities, pegged to songs that play loose with genre. [Apr 2020, p.25]

The songs' relative lack of eccentricity makes CocoRosie seem oddly run-of-the-mill. [Apr 2020, p.25]

There's an appealingly alien quality to Joyfultalk's third album, a sound that drifts beyond familiar reference points. [Apr 2020, p.28]

With a touch of the sinister, James' voice swerves through a spectrum of wild emotions; folk, blues and a dreamy, eerie style of pop wind their way through everything here. [Apr 2020, p.27]

The result is, as much as you'd expect, elegant and tranquil. [Apr 2020, p.27]

Showing off a musical muscularity built up from three years on the road. [Feb 2020, p.35]

Dury seems to have found a tone and groove that he's both relishing and flourishing in. [Apr 2020, p.27]

A dazzling return. [Apr 2020, p.30]

Intriguing. [Mar 2020, p.27]

The overarching atmosphere is masterful, a sense of brimming anxiety that unites even as it unsettles. [Apr 2020, p.37]

Sonically it's a sinister palette: classical folk laced with dynamite blasts of electronics. Yet, the inner contents are tender. [Apr 2020, p.37]

Crunching glam riffs, foot-stamping choruses and lip-smacking vocals - delivered with trademark gusto by Bob Geldof. [Apr 2020, p.25]

Feels like a peculiar reprise of [2007's Tromatic Reflexxions]. [Mar 2020, p.35]

This is an impeccably put-together record. [Apr 2020, p.37]

The record features contributions from a host of their pals, such as The Orb's Alex Paterson on the blissed-out "Burnt Umber," writer Vivien Goldman on Bizarro Bond-theme "Rhino" and Alabama 3's Aurora Dawn on reggae spiritual "Keep On Moving." [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]

This delightfully unlikely collaboration is as much fun to listen to as you suspect it was to make. [Apr 2020, p.26]

The record is awash with sparkling, instantly memorable melodies. [Apr 2020, p.28]

The songs are uniformly strong, for one thing; the delivery is smart, a kind of airy, gently gothic arch-pop, completed by Jean's conversational vocals. It's a wonderfully dynamic set of songs. [Apr 2020, p.28]

An engaging thing it is too. [Apr 2020, p.28]