While this second album adds a layer or two of extra accompaniment, the emotional core remains a formidably magnetic force. [Mar 2022, p.26]

A debut album bursting with character. [Feb 2022, p.37]

It feels slightly too long but there's much to like. [Mar 2022, p.36]

This is a lovely addition to an organic, forest-themed catalogue that works on the macro and micro levels. [Mar 2022, p.29]

The Boy Named if is a thunderous, furious reconnection with the more splenetic chapters of his catalogue - though if there's a difference between this and Blood 7 chocolate or This Year's Model, it's that Costello here sounds like he's thoroughly enjoying himself. [Mar 2022, p.26]

He may have worked alone, but in doing so he has created an entire sonic world, a welcoming garden for all to tread. [Mar 2022, p.37]

The 24-track album is a considered work, avoiding the trappings and tropes of string-heavy bombast and cheap urgency, instead allowing woodwind, strings and ambient textures to coalesce and build slowly. [Feb 2022, p.25]

The potency of Adams' guitar-playing is familiar enough, but he also emerges for the first time s a fine singer, with a deep nd bluesy growl which bears the influence of his years backing Plant. [Dec 2021, p.23]

At under 34 minutes, it necessarily swerves dense improv passages, instead highlighting the nimble, airy interplay of multiple guitars. [Feb 2022, p.29]

It's taut urban blues business as usual. [Dec 2021, p.26]

Where the haunted vocals and atmospheric production remain, it's in service of something bolder, more dynamic. [Jan 2022, p.22]

The project's success can be measured by the extent to which the tunes have been transformed. [Jan 2022, p.21]

Fragments could have been made any time in the last 25 [years], yet the down-tempo warmth, tasteful orchestrations and immaculate production are still a winning combination. [Feb 2022, p.26]

There is a dreamy, unconscious quality to the way Marshall inhabits a song. The covers sessions were big on spontaneity. [Feb 2022, p.22]

Boland’s previous releases (stretching back over 20 years) have only hinted at such levels of ambition, but The Light Saw Me is expertly realised, as playful as it is metaphysical.

Good vibes are much in abundance. [Dec 2021, p.31]

This is a thoughtful, empathetic showcase of his interests, of intense feelings translated into a dreamy sonic atmosphere. It’s an album that meets the world in its moment, where global issues and far-flung international voices are more amplified and connected than ever.

Still groovy, but these voyagers might want to plot a new course. [Feb 2022, p.37]

The vocals feel a bit hammily gothic at times but it’s a small complaint compared with the album’s intoxicating density. [Jul 2021, p.33]

This score to the latest in the Halloween franchise sees his sonic hallmarks - repeating piano motifs, desolate synthesisers and sudden moments of gut-wrenching tension - intact. [Dec 2021, p.25]

So well-crafted is his music, so fleshed out are his concepts, that you can perhaps see why he’s chosen not to hitch his sounds to another’s vision. An album like Entangled Routes doesn’t need to be tied to moving images to reach its potential. Press play and it works its magic, imprinting its strange and fantastic visions direct onto your mind’s eye.

Acoustic English folk is central here, dipped in a thin electronic glaze and layered with gentle washes of psychedelia and shoegazey pop. [Jan 2022, p.31]

Springtime isn’t some hopeful calling card made inside the industry machine. More infernal than vernal, it’s a document – of the coming together of three old hands and kindred spirits at a time when everything around them (and us) was coming apart. [Jan 2022, p.18]

It's an interesting academic exercise that has resulted in a gently beautiful and coherent recording. [Dec 2021, p.25]

It's silly in parts ("Little Things"), deranged in others ("Keep An Eye On Dan") but the "ah-ha ah-ha" chorus on "Just A Notion" comfortably makes up for a multitude of sins. [Feb 2022, p.23]

Admonitions remains a fiery testament to Endless Boogie’s creative rejuvenation. And while this instalment of the saga may end with that imaginary action hero looking like a far cry from his usual condor self, don’t be fooled – he’s just saving it for the sequel. [Dec 2021, p.28]

A crawling, paranoiac jazz-funk odyssey. It might be the best of these Dwyer & Co records to date. [Feb 2022, p.28]

Elegiac and otherworldly. [Jan 2022. p.25]