At times City Of Gold may sound a little hungover after the euphoric heights of 2022, but Tuttle shows every sign of pushing through. [Aug 2023, p.78]

Discs two and three mostly consist of unedited or alternate takes of material on the main disc. A full-length Transylvania Boogie, previously released in edited form, turns out to have been mostly a long, meandering shuffle with a drum solo. Hitherto undocumented titles Halos And Arrows and Moldred turn out to be, respectively, an exploratory guitar overdub piece (all that’s missing is Joni Mitchell at the mike) and a brief Tommy/Vincent composite with added bass. [Aug 2023, p.90]

While all but a handful of the songs from the 13 track Angels & Queens have already been drip-fed via a series of singles, EPs and last year's seven-track mini-album, Gabriels' desire to take their time with the making of their long-awaited debut album has certainly paid off. [Jun 2023, p.84]

Coming in at just 28 minutes. .... But the grand old man of Afrobeat is on fine form throughout, challenging the horns and bass to follow his lead. [Aug 2023, p.83]

Ayers is a lovely singer in both English and Spanish; he rather less so on the London homage It's Another Night or the gently barbed I've Never Had A Good Time.... In Paris. When they harmonise on Room At The Top, though, they're a joy. [Jun 2023, p.89]

His rueful lyrics are mostly about relationship woes, although Florida Man is more serious, dealing with racism. [Aug 2023, p.82]

Sure, these blues are familiar, but at least these friends make 'em fun. [Aug 2023, p.82]

A beguiling sigh in itself. [Aug 2023, p.81]

As it swivels between rock hymns like the Boss-backed New York comeback and country laments like Jukebox, it becomes a primer for newcomers, not a unified statement on a par with 2020's raw Good Souls Better Angels or the landmark Car Wheels On A Gravel Road. Still, it is a triumph that this exists at all. [Aug 2023, p.80]

It's exquisitely crafted and the backing vocals on North Country Ride are beyond beautiful, but a little more colour in their palette wouldn't go amiss. [Aug 2023, p.78]

The tunes recall artworks born of constraint and a strictly limited palette, a very specific kind of less equalling more. [Aug 2023, p.80]

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

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]

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]

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]

Too much of My Soft Machine is too smooth by half. [Jun 2023, p.95]

It's really hard not to feel the absence of David Crosby's harmonies. [Jun 2023, p.92]

The interplay between their vocals is tense and compelling, suggesting early Blonde Redhead. Their lyrics, meanwhile, are mysterious knots of angst. [Jul 2023, p.87]

The tension between philosophical lyrics and the invitingly cosmic fractals generated by the band can hit awkwardly, but this is a striking new shoot. [Jun 2023, p.95]

Lashes panoramic drum'n'bass rollers (Living In Recycled Times) to pulsing deep house (The Beginning Of The End) and amniotic ambient (Prism). [Jun 2023, p.95]

Spectral Lines tries to come at hurt, loss and destiny afresh, with Ritter's dexterity with universal themes often paying dividends. [Jun 2023, p.86]

A sometimes-striking record that suggests new ground without actually reaching it. [Jun 2023, p.84]

de Graaf is repositioning herself in a mightily crowded market, but the sometime human rights lawyer triumphs via intense lyrics about coming-of-age awareness, loneliness in the big city, life's unpredictability and, on Water Stains, the old chestnut of time's passing. [Mar 2023, p.87]

Most of its layered, ornate creations and moody conjurings emerge from a deep shoegaze rabbit hole redolent of Slowdive and Lush. [Jun 2023, p.90]

It's polished, professional, but one for the faithful. [May 2023, p.89]

Pedal steel still colours Safe To Run but so do fuzzier guitars; synthesizers are involved, and tributaries are equally pop, folk and rock. [Jun 2023, p.86]

The emphasis more on fractured, abstract improv rater than frenetic carousing. Interesting stuff, for sure. [May 2023, p.89]