Irresistible examples of Bejar's blend of soft rock, dream-pop and more idiosyncratic elements. [Mar 2020, p.27]

Trail Of Dead have always made music to get lost in and this one's a maze. [Mar 2020, p.23]

Soft keyboard lines wow and flutter tastefully. [Feb 2020, p.28]

Retro-futurism at its best. [Feb 2020, p.35]

A remarkably evolved variety of break-up album, one whose match of melodicism and bruised romanticism makes it somehow suggestive of Lou Reed's Berlin as rewritten by Paul Simon. [Feb 2020, p.33]

The group's ninth album feels low-down and dirty. [Feb 2020, p.25]

The trio are faithful to their ancient source material, while adding spacious arrangements, harmony choruses and subtle embellishments that amplify the songs' emotional punch. [Feb 2020, p.25]

Mind Hive follows a more varied set of strategies that yield both the dreamy haze of "Unrepentant" and the punishing grind of the eight-minute "Hung." [Feb 2020, p.35]

The scatterings of Muscle Shoals-y horns aren't particularly muscular, but they don't need to be to let the class of these '70s-style soul-pop songs glow. [Feb 2020, p.23]

Their last LP, 2014's Gamel, was their best for yonks and Nijimusi maintains that strong form. [Feb 2020, p.26]

Debris is an astonishing debut, not just for the power of the songs, but for the journey that they trace. [Feb 2020, p.34]

Call it a quiet protest against reality: a one-woman bed in. One way and another, it works like a dream. [Feb 2020, p.18]

This fifth album immediately feels well adjusted and familiar. [Feb 2020, p.25]

Swedish pop producer Patrik Berger brings a new clarity to Boman's work without disturbing the delicacy of her performance. [Feb 2020, p.25]

The mournful pedal steel, keening harmonies and thumping analogue rhythms that ornament the deeply introspective songs of Marigold transform what would be a slog of emo self-absorption in less nimble hands into a vibrantly empathetic experience. [Feb 2020, p.30]

It's a warmer interpretation of Fay's celebration of and concern for the state of the world than on 2015's icier Who IS The Sender? [Feb 2020, p.22]

[King] brings innate soulfulness to his performances on El Dorado. Each song has a distinct stylistic antecedent. [Feb 2020, p.29]

Mostly fine results. [Feb 2020, p.25]

Craven Faults transcend obvious reference points. There is real craft here. [Jan 2020, p.30]

Savior is a commanding narrator of heartache and revenge, singing of blood and tears over piano and reverb-drenched guitar, demonstrating a star quality that belies her 24 years. [Feb 2020, p.33]

The mini-album finds this talented duo running in place. [Feb 2020, p.30]

Much more inconsistent and rather less immediate [than 2017's Dear]. [Feb 2020, p.25]

While rarely adventurous or surprising, is reassuringly familiar. [Feb 2020, p.27]

Rather than act like temporary caretakers tiptoeing around WWI's vast, eternally resonant themes, Field Music have sensibly moved in and made them their own. Not a memorial, then, so much as a remix of history. [Feb 2020, p.24]

From the ominous beatless fog of recent tracks "State Forest" and "Beachfires"-the compilation is sequenced for flow, rather than chronologically-emerge some unexpected shapes. [Feb 2020, p.43]

A double LP by name, but distant cousins rather than telepathic twins. [Feb 2020, p.33]

Replete with the sort of shimmering, hypnagogic textures that characterises his solo work. [Feb 2020, p.30]

This, bara clutch of mellow moments, has unclouded ambitions to pack the dancefloor. [Feb 2020, p.27]