The payoff is worth the effort. Those who’ve typecast Lombardo as strictly a metal/punk sticksman will be surprised by Rites Of Percussion. [Jun 2023, p.53]

Pieces Of Treasure is a moving album from an artist who knows these songs inside out and is smart enough to know when to set knowledge aside, to access each song’s elemental power. [Jun 2023, p.52]

As The Forest In Me progresses, it’s interesting to consider which sounds are made with purpose and which are accidental – what is substance and what is ephemeral. When locked in to Xylouris and White’s deeply connected sound, it can feel like great secrets are being offered up to the listener, but heard in passing it’s barely anything at all. What magic. [May 2023, p.59]

Lightning Dreamers may be over the top and all over the place, but that’s what it takes to project a complete picture of Mazurek’s vision. [Apr 2023, p.57]

The deep funk veteran garlands Black Thought’s words with a heavy bottom, making for an experience that’s less psychedelic and decorative than Cheat Codes. Although Black Thought doesn’t stray from the tendencies that distinguish his solo material from his work with The Roots. [Apr 2023, p.68]

Deeply scored with pitch-black humour, concrete riffs and the mucus rattling squalling of vocalist Zack Weil, Oozing Wound shift effortlessly from the piledriver bludgeoning that motivates “Hypnic Jerk” to the more sustained instrumental fury of “Crypto Fash”, without surrendering any of their creative firepower or ability to surprise. [May 2023, p.60]

On Scaring The Hoes, Brown and Peggy sound great together while offering few artistic revelations. [May 2023, p.52]

The album’s eight tracks meander, but they never get lost. “Basin” for example sounds like Brian Eno’s Music For Airports might if it were scaled down to be played in an apartment hallway instead of a spacious terminal. [May 2023, p.51]

His curatorial vision is matched by vocals which have never sounded so assured and impressively soulful. [Apr 2023, p.58]

No Highs is a soundtrack for knotted stomachs – introverted, devoid of catharsis and all the more moving for its honesty and restraint. [Apr 2023, p.54]

Songs to shiver ’n’ shake to. [Apr 2023, p.64]

Big | Brave roars into action with the immense “Carriers, Farriers And Knaves” and proceeds through five subsequent tracks whose heaviness is substantially derived from a keen sense of texture – abetted and encouraged by producer Seth Manchester – and the anguished wail of guitarist/vocalist Robin Wattie. [Apr 2023, p.64]

Pitiless, but ultimately forming a sanctuary for Xiu Xiu’s irredeemable sadness, Ignore Grief might just be their most startling record to date. [Apr 2023, p.63]

This album emerges as too tangled to be pulled into a simplistic linear narrative; throughout, innocence and trauma co-mingle both lyrically and sonically. Fawn/Brute is as complex and irresistible as its themes would suggest. [Apr 2023, p.54]

The way these surprises are smuggled in via skilful sonic illusions attests to Holden’s wide listening habits, and his judgement for bringing different sounds together like an old school studio producer. [Apr 2023, p.54]

The album feels both of the original vintage in its occasional psychedelic trappings and, masterfully, altogether new. But, perhaps most importantly, it richly rewards repeat listens. It’s a dense record, but not an overly busy one, and different instruments bubble to the top with each run through. [Apr 2023, p.59]

While ultimately not as inventive as some of Child’s earlier outings, Crash Recoil is nevertheless an urgent, kinetic techno record. [Apr 2023, p.60]

Let’s Start Here has a middlebrow sensibility, with plenty of grooves Calvin Harris would approve of. Its best moments come when he unleashes his oddball trill, an evocative sound that bland sentiments like “So surreal, the vibes I feel” can’t quite diminish. [Apr 2023, p.68]

Optical Delusion’s seven different guest vocalists yield wildly differing results, ranging from hits to misses. [Apr 2023, p.67]

Kate NV’s sense of play works at a deep grammatical level, particularly in her witty inversions of scale. Small sounds, squeaks, blips and twinkles are inflated into starring roles; boices are shrunk to decorative background shimmers. As with The Pastels, Haruomi Hosono or Pierre Bastien, WOW reminds you that playtime deserves serious attention. [Apr 2023, p.67]

Pop hooks and club-ready rhythms warp with bubblegum plasticity from track to track, never repeating but luxuriating in the excess of their own ideas. [Apr 2023, p.66]

Paternoster locks in with bassist Mike Abbate and drummer Jarrett Dougherty for 34 minutes of joyous thump with no filler in sight. A tough but open-hearted and ultimately life-affirming rock record. [Apr 2023, p.64]

For whatever accessibility that might be lost in the decision to eschew English lyrics is balanced by a fresh emotional immediacy. Arrangements are sparse and pristine, each sound serving a purpose. ... An album that witnesses Deerhoof at their most vulnerable and volatile. [Apr 2023, p.52]

Donaldson’s lyrics tend towards the observational, and are often delivered with a wry turn of phrase that can be laugh out loud funny. ... The Town That Cursed Your Name juggles pathos and bathos throughout. [Apr 2023, p.58]

Good Luck doesn’t betray Friday’s general aesthetic or artistic persona. On the contrary, it retains her darkly seductive, slightly edgy and risqué aura, but conveys it through a disparate medley of styles. [Apr 2023, p.53]

Thankfully it offers something much more than the sum of its parts and references. It speaks to our present moment with a yearning generosity and the kind of deep knowing that only comes with age. [Mar 2023, p.51]

93696 is their sixth to date and, in many ways, it still sounds like music made to illustrate a theory. [Apr 2023, p.56]

Praise A Lord is a record conceived and assembled with considerable care – literate, theatrical and elegantly audacious. [Apr 2023, p.62]