Thanks For The Dance has the intimacy that characterised Songs Of Leonard Cohen and Songs From A Room half a century ago, only rarely making the listener conscious of the resources at Adam Cohen's command. [Jan 2020, p.14]

Striking enough on their own merits, free of embellishments, all the more powerful for the immediacy of the moment. Simplicity is the key here. [Jan 2020, p.26]

Appealing collection of African folk songs played on curiously tuned guitars and percussion fashioned from farm implements by a trio of survivors from Rwanda's ruinous genocide. [Dec 2019, p.27]

This 50th anniversary reissue of their faultless second LP still digs deep to find six unreleased studio cuts. [Jan 2020, p.39]

Some will prefer the stripped-back, elemental performances that are compiled on the extra disc, and they are certainly magnificent recordings in their own right. But part of No Other's magic is its ambition. [Dec 2019, p.36]

Wood is in his element, delivering needle sharp licks and belting the classic, while a passing Imelda May adds some serious sizzle to "We Wee Hours." [Dec 2019, p.35]

Largely recorded over six fays in Paris, it adds test-card breeziness to the bleakness of "The Amputees," and delivers a gorgeous rumination on shattered love in "Carousel." [Dec 2019, p.32]

Ultimately it's all a matter of taste, but fans will lap this up. [Jan 2020, p.31]

As the strident piano ballads and flatly aggressive production pound on, though, it's more AGT than Kanye. [Jan 2020, p.25]

Even without the dramatic backstory, heart-tugging earworms like "All Thing New" and "Purifier" work on their own terms as healing meditations. [Jan 2020, p.23]

Disturbing, but also enthralling. [Jan 2020, p.23]

What might feel somewhat reheated is saved thanks to Dal Forno's poise. [Jan 2020, p.25]

Drawing on a palette of classic Beatles/Queen influences via plenty of heavy metal sturm und drang. [Jan 2020, p.25]

Though not as viscerally crushing as A Crow Looked At Me, Lost Wisdom Pt 2 is as plainly poetic. [Jan 2020, p.27]

Simple folk arrangements foregrounding Moorer's richly emotive voice. [Jan 2020, p.27]

Grace Potter returns to her stylistic comfort zone with Daylight. [Jan 2020, p.28]

If its pace is funeral, though, its mood is elevating. [Jan 2020, p.31]

Approached with an open mind, it becomes a compelling blend of ambience, minimalism, poetry and devotion. [Dec 2019, p.32]

Her reinterpretations restore some of the post-punk edge to a band long overshadowed by its frontman's solo hubris. [Dec 2019, p.29]

The greatest compliment it can be paid is that it sounds like no time at all separates it from its predecessor. It's a(nother) fine album of gently joyous country songs. [Dec 2019, p.25]

Proceeds with the unhurried observational vividness of extended takes in a Richard Linklater film. [Dec 2019, p.35]

Their fourth LP together sees them ditch the punky uptempo tracks and instead wallow in mournful, funereal meditations that don't leave White with much to do. [Dec 2019, p.35]

The result is a heady debut album. [Dec 2019, p.27]

A Son tilts slightly more towards conventional song structure, minimising electronics in favour of (mostly) acoustic guitars. [Dec 2019, p.30]

Impressively inventive and diverse material. [Dec 2019, p.35]

Splendid. ... All the crafty hooks, Haim-worthy vocal harmonies, sumptuous layers of synths and unabashedly prefab beats belie the poignant nature of Girl Ray's odes to post-millennial love and longing. [Dec 2019, p.26]

This anniversary reissue is less concerned about the album as it is and more curious about how it might have sounded. ... Arguably the most revealing aspect of this reissue is Scott Litt's bold remix of Monster. [Dec 2019, p.40]