Despite a surfeit of guests and some over-embellished kitchen sink production, the hit rate is remarkably high, reminding just how far Killer Mike's unflinching, candid style has evolved since he debuted on Outkast's Stankonia. [Aug 2023, p.84]

These dozen songs are a prime distillation of their essential pantheism. [Aug 2023, p.84]

Versions Of Us is full of such emotional blue plaque moments, small humans marking their time on a grandly heartfelt scale. [Jun 2023, p.85]

Based on what's here, it's impossible to guess which could follow next. [Jul 2023, p.84]

At times, the tracks seem almost overburdened with poignancy - typically, the tectonic major to minor chordal shifts of Gold push Birgisson’s ululations into ever more heartrending melodic shapes – and everywhere a kind of voluptuous awestruck sublimity pervades. [Sep 2023, p.84]

King Of A Land is an elegant, warmly orchestrated work. [Jul 2023, p.89]

Time Ain't Accidental has a blazing confidence. [Jul 2023, p.84]

Harmonious stuff, in every sense. [Jul 2023, p.86]

Beguilingly, knowingly rendered debut. [Jul 2023, p.92]

Though shorter and lighter than 2018’s magnificent Dirty Computer, it delivers its full measure of pleasure. Doing just what it says on the tin, a 21st century pop peak. [Sep 2023, p.89]

At times, her fluency leaves you wishing for a smudge or run that hasn't been place deliberately, but from the Tom Petty love-the-one-you're-with of Apples And Oranges to Cherry Baby's soft-focus disco, Lewis is a smart, fluent builder of her world. [Jul 2023, p.90]

These witches are still burning. [Jul 2023, p.88]

O Monolith is no less bold of palette - opener Swing (in A Dream) embraces taut post-punk chug, jazz trumpet and enveloping synths - but always follows a lucid, compelling logic. [Jul 2023, p.86]

Brightly flags up their sixth album's abundant strengths. [Jul 2023, p.98]

Another mesmerising, profound, excellent record. [Jul 2023 p.86]

It's not all bleak: within the lumbering inevitability that a drum machine brings, Broadrick pulls off a singular funkiness, which ensures that the titular 'purge' is fully transcendent, even enjoyable. [Jul 2023, p.90]

It's a familiar mix of delicate acoustic tracks and crunching country rock - but The 400 Unit has evolved via the deepening emotional heft of their leader's songwriting. [Jul 2023, p.86]

Songs hang in the air, implying rather than asserting uncanny dimensions. Dylan’s voice, again, is quite beautiful, with a control and nuance so many thought he’d lost. [Jul 2023, p.97]

Payseur's vocals might still sound diaphanous, his lyrics still concerned with small moments of sadness and pleasure, but there is now a structured professionalism here that will delight and confound others. [Jul 2023, p.82]

Baxter's third cracking album in a row. [Jul 2023, p.88]

If it has little earth under its nails, with any background maid or shepherd perfectly cast and choreographed, there are still plenty of lovely, curious tableaux - among them David Byrne's dreamy appearance on Moondog's High On A Rocky Ledge, or Nina Simone-inspired Cotten Eyed Joe, featuring Chaka Khan. [Jul 2023, p.89]

Margo's deep, stentorian tones have remained almost unchanged since 1986's Whites Off Earth Now!! and Hell Is Real could have graced that LP. Even so, there's real evolution. [Jul 2023, p.84]

What Matters Most is near faultless; a whole semester of song-craft in 40 minutes. [Jul 2023, p.90]

Council Skies is very much a creative success. It's the sound of Noel Gallagher pushing onwards, while once again playing to his strengths. [Jul 2023, p.85]

This is searching, quietly profound stuff. [Jun 2023, p.90]

Live At Berkeley 1971 powers through it all – relentless, often overwrought, often brilliant, too. [Jun 2023, p.99]

Trouble... is thrillingly fresh. [Jun 2023, p.86]

With its own low-key sparkle Archangel Hill stands testament to a musical third act every bit as engaging as anything that went before. [Jun 2023, p.91]