The graceful arrangements of Owen Pallett and the pristine production of Mark Lawson, both best known for their Arcade Fire connections, ensure that the results are lovely, while the gorgeous purity of Bulat's voice glides elegantly above it all. [Mar 2022, p.25]

Subtle this isn't, but ironically, for a band once compared endlessly to Interpol and Editors and their Joy Division-inspired brooding indie, White Lies Have probably shown more versatility and evolution than either on their latest. [Apr 2022, p.36]

Feeding The Machine operates in a bold and unorthodox way. [Apr 2022, p.34]

"Don't Worry 'Bout What I Do" get quite heavy-metally, while James takes tracks like the wah-wah-infused "This Is Who I Is" in a distinctly Hendrix-inspired direction. [Apr 2022, p.29]

It's often mournful in tone, dwelling on loss and abandonment. But Bevan infuses his music with a glowing warmth, these tunes framed like prayers for happier times ahead. [Apr 2022, p.25]

Even if it doesn't push the needle for Ono in terms of broader cultural awareness, it reinforces the crucial idea that those who know, know. [Apr 2022, p.24]

An altogether less whimsical - and much more Pearl Jam-esque - undertaking than 2011's Ukulele Songs. [Apr 2022, p.36]

The follow-up, recorded in isolation during lockdown, has a mellower, be-thankful-for-what-we've-got vibe. [Apr 2022, p.35]

It's a lovely listen, unassuming as ever. [Apr 2022, p.32]

Flicker is never derivative or predictable, with Bell using these influences to craft often beautiful songs, from the groove of "riverside" to the lovely strum of the Simon And Garfunkel-influenced "lifeline" or the springy disco-beat of "Sidewinder." [Apr 2022, p.32]

Four albums in, feels like Marr is finally settled into the business of a solo career. [Mar 2022, p.31]

Sasami's aim is clear: she forces you to pay attention. [Mar 2022, p.35]

Sa Cities puts more weight on mood than on song, though, which means Shapiro, always an elusive singer, sometimes gets lost among all the synths. [Mar 2022, p.35]

A record that is heavy on textures and atmospherics. [Mar 2022, p.36]

The finest moment is the moving wartime ballad, "No Man's Land." [Mar 2022, p.35]

Fans of Curt Smith and Roland Orzabal will find more than enough reminders of their glory days. [Mar 2022, p.36]

Modestly presented, then, but as skillfully turned as ever. [Mar 2022, p.31]

Trupa Trupa's sixth album favours often lovely, mysterious ritualistic sounds. [Mar 2022, p.36]

Terrific collection. [Mar 2022, p.49]

Without sacrificing urgency, outrage or compassion, Alynda Lee Segarra gives these story-songs a light touch musically, favouring airy, even breezy arrangements driven by insistent drumbeats. [Mar 2022, p.31]

Rae’s measured, river-clear voice is a thing to behold too, buoyed by piano, organ, pedal steel and unobtrusive guitar. It’s the kind of record that recalls the muted grandeur of Bobbie Gentry or Judee Sill.

A wonderous, modernist mix of LiLiPUT, Husker Du and Yeah Yeah Yeahs. [Mar 2022, p.28]

Once Twice Melody's greatness lies not in its hugeness - it's in the duo's ability to create music that possesses the same intimacy regardless of its scope. [Mar 2022, p.33]

The Sea Drift owes something to the classic sounds of Kristofferson, Gentry, Chips Moman/Dan Penn and Glen Campbell, but there’s no throwback nostalgia here. The Delines’ way with romance is all their own, and for 41 sweet, orchestral minutes, time is somehow suspended while we watch with our ears. [Mar 2022, p.34]

Layered with folklore and mysticism, lustrous synthesiser textures and twangy surf-punk guitars, the band's third album maps an expansive musical cosmos. [Mar 2022, p.26]

An album of soaring pastoral symphonies, grand emotional vistas, knowing nostalgia and surreal wordplay. [Mar 2022, p.35]

If a few concessions are made to mainstream mores here, it still works on its own idiosyncratic terms. [Mar 2022, p.25]

The bleak but beautiful moments here represent a suave, dignified coda for an artist whose work never quite got the hugs it deserved. [Mar 2022, p.31]