Outstanding. ... Aside from the supple elegance of Landes' warm voice, the most arresting element is her sharp songwriting, which succeeds on a number of levels. [Oct 2018, p.26]

It finds Suede wrapping up a triptych of records since their 2013 reunion and in doing so they feel positioned with one foot in the familiar camp of old while striding forward with the other into fresh, unknown territory. [Oct 2018, p.34]

Musically fascinating and hauntingly empathetic. [Oct 2018, p.29]

Tasjan has a pop at contemporary politics on the crooning "The Truth Is So Hard To Believe," but is stronger when he tackles domestic concerns. [Oct 2018, p.34]

If there are a few stylistic surprises, there's spirit to spare on the invigorating "Easy Street" and the lusty, bluesy "Fast Lane." [Oct 2018, p.34]

Songs Of Resistance throbs with urgency. [Oct 2018, p.32]

Double Negative is their biggest step forward to date, an album that scrambles their sound completely; it sounds nothing like Low and everything like Low. ... Low have made what might be their most relevant album, one that holds a mirror up tot he world. [Oct 2018, p.18]

Bursting with symphonic goodness, musical adventure and dizzying levels of intensity. [Oct 2018, p.32]

If Egypt Station is quite startling enough to shift preconceptions about the most famous musician on the planet, it's sufficiently vibrant to justify its existence, and strong enough to ensure that McCartney can sprinkle three or four tracks into the set on his upcoming world tour without setting off any alarms. [Oct 2018, p.28]

An inspired and fruitful fusion. [Sep 2018, p.35]

Glossy and glamorous, maybe, but it feels like a beautiful-designed dead end. [Oct 2018, p.37]

There's still a lingering sense of promise not quite fulfilled about Anna Clavi, such that Hunter feels like a make or break album. [Oct 2018, p.24]

They add to their ongoing commitment to openness here. [Oct 2018, p.29]

As a whole it feel overfamiliar, with little of the cohesiveness that made, say, Les Revenants so powerful. [Oct 2018, p.30]

For every blissful "Mannie's Smile" there's some Bontempi bossanova or a fretless bass ballad like "Breathing Easy" that swims in kitsch. [Sep 2018, p.30]

A joyful noise. [Sep 2018, p.39]

A lush song suite reflective of the grandeur of their native New Zealand's landscapes. [Sep 2018, p.29]

Negro Swan sees Hynes thoughtfully explore themes of racial and sexual identities and anxieties within songs that can be a s gorgeously vaporous as "Take Your Time," as ecstatically funky as "Charcoal Baby," or any state inbetween. [Oct 2018, p.24]

These warm engaging gnarly songs are vigorously banged out by a mix of the original and current lineups. [Sep 2018, p.30]

Performance is expertly weighted between great hooks and loose, Southern-styled jams that dare you to shake a leg. [Sep 2018, p.39]

It's characterised by a delicate, hypnotic power with subtle light/shadow shifts. [Oct 2018, p.37]

Pete Bernahrd's songs speak of humanity facing insanity in many forms. [Oct 2018, p.27]

This is the kind of roughed-up disco-not-disco that would have sold a ton when electroclash was all the rage. It might still. [Sep 2108, p.36]

Much darker successor to How To Die In The North. Utterly compelling it is too. [Sep 2018, p.26]

"Overrated" tosses in traces of Disintegration-era Cure, with Matilda Bogren's dreamy vocals buried deep in a richly murky, shoegaze-friendly mix, while "Apart" leans towards the gothic and "Hard Ending" adds a little New order. [Jul 2018, p.27]

Overall, Go To School is a blast, a joyous, ridiculous journey that treads a perfect line between silly, funny and heart-breaking. [Oct 2018, p.33]

Whatever its emotional well-spring, her expression is clear, purposeful and strong in its directness. [Sep 2018, p.38]

Deep-pocket blues covers alternate with scintillating originals. [Oct 2018, p.32]