Strummer sounds mostly like he's having a blast. [May 2021, p.44]

Pleasingly grubby debut LP. [May 2021, p.25]

This multilayered and multigenre approach results in an album that is as deeply introspective as it is creatively bold and ambitious. [May 2021, p.25]

A potent techno-pagan tapestry of intertwined voices, church bells, liturgical chants and occult spells. [May 2021, p.27]

Menneskekollektivet's foibles – and the sense that it’s incomplete – are what make it so compelling. [May 2021, p.34]

Rose channels longing and romantic despair via expansive songs that owe much to the feel of classic country from the '60s and '70s. [Apr 2021, p.26]

A welcome return. [Apr 2021, p.27]

A more stripped=down approach. [May 2021, p.28]

Most impressive is Peel's ability to take the source material and make it her own. [May 2021, p.31]

Watkins' judicious arrangements and less-is-more approach throw different shades onto these songs she fell in love with a child. [May 2021, p.35]

One for Cornell completists only. [Apr 2021, p.27]

Clarke may not have the tools to open you up emotionally to quite the same degree [as Nick Cave And The Bad Seeds' Ghosteen], but he's found an elegant and absorbing mood of despair like few have managed so far. [Apr 2021, p.24]

More often than not, it seems like the Technicolor electronic sheen is masking tepid songwriting. [Apr 2021, p.30]

It feels deft and thoughtfully constructed. A deeply warm record. [May 2021, p.23]

Grief, memory and friendship billow up throughout the nine tracks. [Mar 2021, p.31]

[Kids] sees her punching through with aplomb, via 13 lean, attitudinal songs with a bass music and hip-hop/trap chassis, fitted out with pop hooks and featuring her fine, versatile voice. [May 2021, p.25]

The record itself isn’t angry, fizzing instead with a creative fire. There’s a looseness and joy to songs like “Make It Right” and “Homewrecker”, rooted in the extended jam sessions in which Garbus and bassist Nate Brenner birthed the record, the bold lyrics an extension of that passion. [May 2021, p.32]

Promises is an impressive collision of talents, and sublimely lovely in places, but also frustratingly slight. A minor addition to the canon of its two main authors, it earns the double-edged compliment of all half-great albums: it leaves you craving more. [May 2021, p.30]

While the LP reaches its darkwave apotheosis with a Neubauten-like cover of The Cure’s “One Hundred Years”, glimmers of lightness and tenderness make for a surprisingly rich listening experience, one that’s closer in spirit to Scott Walker’s Bish Bosch than Xiu Xiu’s past provocations. [May 2021, p.35]

It’s the pair’s 25-year relationship that most radiantly shines through here, adding a relaxed and comfortable tone, as though you’ve walked in on their private back porch session. [May 2021, p.23]

Compared with the highly structured Ghosteen (a double album meditation on grief and spirituality, complete with intermission), Carnage is a more concise though no less ordered record. Much as the Bad Seeds’ songs now push into oceanic drift, Cave’s narratives move between worlds fictional and not, the horrific and the consoling. [Mar 2021, p.20]

A little more forward in the use of bouncing rhythms. [Mar 2021, p.28]

Today We're The Greatest boasts a gentler nature than Lost Friends. [May 2021, p.31]

Transfigures smoothly from one hallucinatory half-style to another. ... The playing is both adventurous and textural, and the surprising, soothing result would have made a fine release on Eno's '70s Obscure label. [May 2021, p.31]

Peter Silberman's half-whispered vocal melodies are more accessible than ever. [Apr 2021, p.25]

A delight. [Mar 2021, p.25]

Putting perfectionism aside hasn't lessen his knack for melody and texture. [Apr 2021, p.27]

Feels like one of his least fussed-over releases. [Apr 2021, p.37]