The songs are rich in both melody and syncopation. [Feb 2024, p.25]

An instantly engaging, 11-track set with zip, heart, sly humour and real staying power, which shucks off the often dry terseness of the genre without trashing its template. [Feb 2024, p.34]

Tangk is more about diverse, swooning sonic details that support troubled singer Joe Talbot's redemption. [Feb 2024, p.28]

In this sparer setting, the extra space plays to the benefit of McCartney’s loyal co-travellers: “No Words”, which serves reminder just how vital the harmonies of Linda and the song’s co-writer Denny Laine were when it came to defining the Wings sound; Linda’s purring ARP Odyssey and MiniMoog contributions are what suddenly take centrestage on “Jet” and a rollicking vocal-free canter through “Nineteen Hundred And Eighty Five”. Yet, none of that detracts from the primary energy source of Band On The Run. [Feb 2024, p.42]

The likes of "No Sun To Burn" (for brass) or the nine0minute title track, will pull on the listener's heartstrings at least as much as it endorses the composer's process. [Feb 2024, p.31]

Mixes have the tracks - stacked guitars and vocals, bustling basslines, played and programmed drums - hurtling along as if crammed into a tunnel. [Mar 2024, p.25]

While opener "Whispers In The Echo Chamber" tries too hard to startle with blasts of screaming horrorcore, her talent for a melodramatic melodic hook wins through on "Tunnel Lights"'s yearning torch-song noir and the heartbroken small-hours lament of "Everything Turns Blue". [Feb 2024, p.37]

While Phasor standouts such as "Flores" evoke Os Mutantes in a narcoleptic fugue. .... On "Colores Del Mar" and "Out There", he strikes an equally deft balance between aqueous abstraction and buoyant, big-hearted avant-pop. [Mar 2024, p.34]

A Jaime 2.0 likely to secure her status as an auteur in terms of both conception and execution. It's bigger, freer-thinking and more dynamically audacious record. [Feb 2024, p.20]

It's all very tasteful and refined, but ultimately feels a little bloodless. [Feb 2024, p.30]

The music is largely uninteresting, a bland hotchpotch of dub-flavoured electronic styles. [Feb 2024, p.34]

Sola can be detached but is at her best when she leans into the songs. [Feb 2024, p.35]

A rich saturnine, baroque-pop set full of romantic drama. Strings, piano and keyboard combine with muti-textured guitar in songs that, though engaging, tend toward the florid. [Feb 2024, p.30]

The result is Mascis's most fully formed and direct solo set to date. [Feb 2024, p.31]

The band's sophomore effort feels like more than a photocopy of past indie-pop glories thanks to the surprisingly punchy contributions by bassist Nick Oka and drummer Keith Frerichs and the degree of craft and care evident even in songs as breezy as "When You Find Out". [Jan 2024, p.36]

The threesome manage to toe the very fine line between control and chaos, suppression and release. [Jan 2024, p.34]

This is an album that sounds like it’s had time spent on it. It’s brilliantly recorded, pristine and perfectly imperfect. [Jan 2024, p.20]

It’s hard to recall a set of songs on which Rhys’s low-key radicalism and unquenchable sense of wonder have coexisted with such ease. [Jan 2024, p.24]

Kirby's second is more cosmopolitan than 2021 Cool Dry Place, with bandmates Alberto Sewald's and Logan Chung's muted soft rock production shifting her halfway toward Weyes Blood's polished indie folk. [Jan 2024, p.31]

Newdad's first full-length shows them expanding on their indie-pop roots, adding extra gnarly, post-punk bite and more sophisticated textures to their updated mix of The Cure, Slowdive and Curve. [Jan 2024, p.34]

What An Enormous Room takes her eclecticism to fresh heights, each of these songs exploring different emotional moods while influences range from The Breeders to Goldfrapp. [Jan 2024, p.36]

Though the band's affection for Blonie, Pixies and Osees is plain, it's not intrusive and music's x-factor is an ominous undertow, notably provided by the keyboard on breakneck instrumental "(Post Apocalypstick)". [Jan 2024, p.28]

On People Who Aren't There Anymore, then, no curveballs are thrown. However, the band's debt to OMD and New order is increasingly less obvious, while the earlier bombastic synths are being edged out by a more spacious, less forceful style of electronic poo that recalls fellow Baltimorean Dan Deacon, with echoes of Peter Gabriel. [Jan 2024, p.26]

The Smile take Radiohead’s privileges seriously, rewarding our attention with music that demands and – crucially – holds it. No frills, no distractions. A little like Radiohead, then; but there’s nothing wrong with that. [Feb 2024, p.29]

A knottily intricate yet oddly inviting album. [Jan 2024, p.30]

Sleater-Kinney strike a finer balance between their established punk sound and the New Wave references that gummed up recent records. [Jan 2024, p.36]

They unleash 15 compact, primarily pro forma bangers. [Feb 2024, p.28]

Finds The Vaccines at their terse, nervy best. [Jan 2024, p.38]