Thirty years later, the heaviness of these songs has intensified rather than abated. [Dec 2017, p.40][Album: 9/10, Extras: 7/10]

The result is an impressionistic and intriguing set of instrumentals that draw on an eclectic set of influences from the obvious (Satie and Glass) to the surprising (gamelan and Robert Miles). [Jan 2018, p.24]

Tribute To 2 is a richer and more complex collection [than his previous cover releases]. [Jan 2018, p.20]

Its 10 tracks show that age still hasn't tamed Hammill's mighty, stentorian voice or the existential rage still burning at the centre of his songs. [Dec 2017, p.27]

It comprise four lengthy tracks, from the wood-wind-assisted Led Zep-sized rocker "This One's For The Human" to the one chord motorik Krautrock of "The Visitations." Best of all is "The Moon IS Not Your Friend," in which a McCartney-styled guilty pleasure is bookended by terrifying space-age FX. [Jan 2018, p.17]

Krgovich reflects wryly on his own situation, the perennial underdog whose day might be just around the corner. [Jan 2018, p.23]

The seven unnamed tracks here are often surprisingly straightforward in form given the two musicians' penchant for demolishing conventions. [Jan 2018, p.22]

It moves like a Best Of, stacking the hits up top. [Jan 2018, p.40]

A finely crafted mood piece rewarding deep immersion. [Dec 2017,p.25]

There are plenty of albums by singer-songwriters documenting damaged relationships, but few have mapped out the emotional catography with such candour and insight as Van Etten. ... The ethereal "You Didn't Really Do That" floats on layers of seductive harmony, while church-like organ lends the bittersweet "I'm Giving Up On You" a sepulchral feel. [Jan 2018, p.43 - Album score: 8/Extras score: 6]

Wilson, now 60, reveals a flair for conjuring up moods on songs that suggest the languorous drift from winding down to sleeping in. [Jan 2018, p.29]

Wildly ambitious debut. [Jan 2018, p.26]

Five years in the making seems like a long time for an hour's worth of music, but Jonti clearly had plenty of fun along the way. [Jan 2018, p.22]

There are hints of Cocteau Twins and Joanna Newsom, but the air of doomed beauty is Bruland's own. [Dec 2017, p.26]

It contains fleeting proof of a band still capable of making sparks fly. [Jan 2018, p.29]

The arrangements are light and percussive, and Polwart's singing is bell-like. [Jan 2018, p.24]

Skittishly improvisational without undermining the overall serenity. A good time for your chakras guaranteed. [Dec 2018, p.18]

Utopia really delivers on the transcendent promise of its title with the closing "Future Forever." [Jan 2018, p.12]

This album will not fry your brain though that's not to say that a substantial change has not been attempted. [Jan 2018, p.27]

The resulting confluence of country, soul, gospel and R&B is a delight, Langford's originals imbued with a keen sense of time and place. [Dec 2017, p.23]

Slight and derivative, but stylish when it works. [Dec 2017, p.29]

The likes of "Maliblue Dream Sequence" and "Tonal Bath For Bubbles" positively glow, layering shimmering keyboard washes, ringing chimes and raga-like melodies to create a sense of blissful stasis. [Jan 2018, p.23]

Less, often, is more. The home demos of "sans" is powerfully raw. [Jan 2018, p.39]

Trouble No More presents a very humane portrait of a man on a serious spiritual quest, which makes it as biographically fascinating as it is musically frustrating. [Jan 2018, p.34]

Since the impact of their shtick has diminished from overuse, the shift toward a less hectic pace elsewhere is a wise one. [Jan 2018, p.26]

This is a focused trio who boast a superb drummer and feature lovely, unshowy harmonies, able to balance the melancholy of Nils Edenloff's lyrics with a euphoric, confident delivery that feels like a brilliant form of catharsis. [Jan 2018, p.26]

The likes of "Sauchiehall Withdrawal" and "Diop" add a few crumbs to the collective's heaving table, but there's plenty here to chew on. [Jan 2018, p.22]

A reawakening to be reckoned with. [Jan 2018, p.21]