This double LP has sonic coherence across 65 minutes of taut, sinewy but ever-unpredictable compositions, with a subtly altered sound palette. [Feb 2024, p.86]

Rhys’s melodies stay with you, and his wordplay is as pleasingly idiosyncratic as ever. [Feb 2024, p.89]

The resulting sound is high-contrast, with graceful melodic resolutions, slippery pitch-bends and experiments with form. Curios that hit at once, but can also withstand lengthy unravelling. [Mar 2024, p.91]

Lurching guitar, chiming piano and stabs of overdubbed choral harmony are combined with vocals that swing from sweetly intimate to dry and flippant. [Mar 2024, p.89]

There's no doubt Mackenzie Scott never stops moving here, switching between gothic sway, grungy stomp and electro-pop gyration, but it can make it hard to catch her eye in a meaningful way. [Mar 2024, p.86]

Green Day are admirably assured, honest, and funny on Saviors. [Mar 2024, p.82]

Beneath the Day-Glo surface, Chemtrails rage away. [Jan 2024, p.89]

New ground is not broken, but happily, neither are they. [Jan 2024, p.86]

All in all, less immediate and traditionally melodic than A Light…, Wall Of Eyes is one for the heads, revealing its many charms and details only upon repeated listens. [Mar 2024, p.83]

Little Rope carves space for the well-worn mind, offering sharp perspective on moments when everything seems blunted. [Feb 2024, p.84]

The LP is a treat, like listening to an oracle from the depths of a digital cave. [Feb 2024, p.86]

The former Bedales pupil's steely vocals and ear for a big melody amidst the intricacy offer a unifying and satisfying undertow. [Feb 2024, p.88]

Iechyd Da documents a period of intense anguish with careful understatement and smart musical references. [Feb 2024, p.87]

From Ireland's proliferating alt-guitar pack, these intense runners could go the distance. [Feb 2024, p.89]

Nau isn't especially original, but he is especially beguiling. These are songs to luxuriate in. [Feb 2024, p.89]

The "low tide" hinted at on side one submerges the second half, but delivers some of Brown's deepest, most affecting work. [Feb 2024, p.88]

Nelson's trademark rough vocal edges suit the rustic vibes of this Southern folk music and yet the ensemble also ventures into more experimental newgrass turf. [Feb 2024, p.88]

It's an impressively elegant and expressive one. [Feb 2024, p.87]

Gazelle Twin masterfully keeps us in suspense, incorporating strongly evocative sonic components. Around track eight the tension subsides, yet this doesn't affect the overall consistency. [Feb 2024, p.86]

Zietsch's music upholds the sparse, haunted tone set by Lana Del Ray, the minimalism so acute that each chord change often lasts for just one stroke of the strings or ivories. [Jan 2024, p.88]

Where the stage show had the intimacy of Young's between-song chats, the intimacy here comes from the sensation that you're listening in on his thoughts as one song drifts, like memories do, from one tome to another. [Jan 2024, p.90]

From top to bottom, what a joy it is. [Jan 2024, p.88]

What did we get for our 20-year wait? Something substantive, something deeply considered. [Jan 2024, p.87]

Progressive conceptual art, underpinned with profound personal resonances. [Jan 2024, p.87[

A brave, stand-alone release that lays her talent bare, it's a beautiful unreal entrancement you'll find hard to stop listening to again and again. [Dec 2023, p.91]

Into his eighth decade of unblinkered creativity, Hayward continues to thrill. [Dec 2023, p.93]

The necessary and sustaining art-yin to their live knees-ups’ yang, with Theatre Of The Absurd… Madness have made an album that is among their absolute best. [Jan 2024, p.90]

The heavy-breathing White Rabbit and Scarper comes with a prickle of John Carpenter Menance, while Last Transmission or Imminent are hyper-vigilant Tangerine Dream. There are times when a less obviously doctored emotion bleeds through, though. [Jan 2024, p.94]