Every song here has its merits; there isn't a dud among them. [Oct 2019, p.40]

Though still meditative, they're now more dynamic. [Jan 2020, p.24]

It doesn't always hit the mark, but it's terrific fun while it lasts. [Jan 2020, p.30]

Well-crafted compositions. [Jan 2019, p.31]

Bold. ... But Ism is finest when at its funkiest. [Jan 2020, p.28]

Wet Tuna really find their sound in the spacier moments. [Nov 2019, p.33]

This anthology perfectly encapsulates The Go-Betweens' irresistible, evergreen and still expanding appeal. [Jan 2020, p.34]

It's sometimes more about the journey than the getting there, and the contents of this latest Bowie box help document many of the steps. ... The 1969 Space Oddity record remains more than its title track, the tender love songs particularly strong. It's a hippie record of social observation and heavy inner trips, Bowie's wit and tenderness rendering it a cut above. [Dec 2019, p.41]

They still sound unique today. [Jan 2019, p.41]

Some of them meet him in his world, while others drag him into theirs. ... A third way to approach these songs: Fiona Apple and Robbie Fulks manage to pretend that their world is Mose's. [Jan 2020, p.24]

It's a mix that captures the zeitgeist appetite for the melding of jazz, R&B and electronic sounds while also celebrating the path that led there. [Jan 2020, p.31]

Revitalising his finest work with unlikely guests performing unlikely roles. [Jan 2020, p.31]

The live setting and frontman Joe Talbot's inter-song exhortations heighten the feeling of being sucked into communal catharsis. [Jan 2020, p.26]

Unfussy yet poetic. [Aug 2019, p.31]

An intense and dizzying work. [Jan 2020, p.26]

Every song here is a miniature gem of its kind. [Nov 2019, p.22]

[Rainford] was haled as a return to form, and Heavy Rain--an album of re-versions helmed by Sherwood accompanied by a suite of guests--feels similarly vital. [Jan 2020, p.28]

A mutant strain of noisy funk, hip-hop, subversive art punk and dirty disco. [Dec 2019, p.35]

Poet Joshua Idehen adds desperate, apocalyptic testimony to the opening of "All That Matters Is The Moments," while "The Lifeforce Part I" and "II" gradually dial up the intensity, Hutchings blowing with dervish energy as drums and synth lock into a spiraling groove. [Jan 2020, p.25]

Shlon is in some senses a return to his roots, combining the lush Arabic romance poetry of collaborator Moussa al Mardoud with Hasan Alo's techno arrangements. [Jan 2020, p.28]

It's his terrific wordplay--sharp, funny, poignant and much more--that really dazzles. [Dec 2019, p.29]

These are quite logical, tuneful explorations. [Dec 2019, p.32]

Sounds great, but a little superfluous. [Jan 2020, p.28]

An intriguingly diverse "double" (well, 53 minutes) album. [Jan 2019, p.25]

It brings together the many facets of Sudan Archives--religious and sensual, independent and codependent, tender and menacing--in a way that feels very deliberate, particularly when you learn that the final tracklisting was whittled down from around 60 potential songs. [Dec 2019, p.28]

Another graceful tug-of-war between sentimental melody and muscular noise. [Jan 2020, p.25]

The resulting album is a thing of gossamer beauty. [Dec 2019, p.25]

Lovely stuff. [Dec 2019, p.29]