Camp art-pop songs matching Kassie Carlson's surreal lyrics with burbling synths and booming basses, it might snag GT the audience they crave. [May 2022, p.96]

The first half of the album is techno-pop, finely balancing euphoria and heartache. .... The subsequent ballads' more fragile. [May 2022, p.89]

Unlimited Love's sprawling 17 tracks almost inevitably include a few free-spirited missteps, with Aquatic Mouth dance and poster Child getting stuck in a groove. Nevertheless, an impressive consolidation of their strengths. [May 2022, p.89]

[Producers Joe Goddard and Al Doyle] bring a fitting smoothness to the cheesy exotica groove of Wild Flowers, and a swinging clarity to Fatso's '80s P-Funk electro-grind. Elsewhere, At The Hotspot can be too hectic for wider recommendation. [May 2022, p.90]

It's a pity Parton has retreated into much safer and predictable territory. [May 2022, p.86]

The thrill lies in eavesdropping on experiments-in-progress, ad as much in the quest itself as in the flashes of genius that occasionally arise. [May 2022, p.106]

You might struggle to identify where their influences end and begin, but Mattiel's charisma - and solid gold tunes, in the form of Lighthouse and the darkly gothic Blood In the yolk - ultimately win out. [Apr 2022, p.89]

bare-knuckled rhymes and eerie sing-song hooks deliver the trademark thrills, though Muggs' lysergic touch is often missed. [Apr 2022, p.89]

Great that they are back on their own label, on their own terms, but some of these "democratically produced" recordings want for a more ruthless arbitrator. [Apr 2022, p.80]

Contrasting extremes on emotionally literate, indie rock evocations. [Mar 2022, p.90]

The albums most evoked are the mid'90s brace, Charade and Misère. The Monochrome Set remain unmistakeably themselves. [Apr 2022, p.82]

After nine songs averaging under four minutes, Moore closes with The Realization, 10 minutes of converging light and dark, and one of the finest piece of music that he has put his name to. [Apr 2022, p.84]

It's unashamedly nostalgic, but her voice remains pure and true. [Apr 2022, p.84]

Boasts duets between Esperanza Spalding ab=nd Q-Tip, Musiq Soulchild and posdnuos and a deep-voiced rap from Meshell Ndegeocello that perfectly marries H.E.R.'s downcast balladeering. Much of the rest, however, is little more than showy, slick and generic R&B, with Glasper becoming virtually untraceable. [Apr 2022, p.89]

Though the percussive, struck guitar strings interlude Zilch is perhaps an inquiry too far, caroline's flair for conjuring the liminal space between sleep and wakefulness frequently enchants. [Apr 2022, p.89]

One or two numbers have too many twiddles; but then there's the waltz-like Are You In Love?, no longer a teen crush but adult, gently humorous and intoxicating. [Mar 2022, p.85]

The record's well-meaning earnestness is a little overwhelming, but it's the stuffed-crust arrangements that really grate, everything happening at once, and often for too long. [Apr 2022, p.81]

Nas's fifteenth is a heap of comfort food for old-school rap fans. [Apr 2022, p.90]

Small World suffers from sonic conservatism: The Tame Impala-lite of I Lost My Mind is undercooked, while It's Good To Be Back's tracly synths are a touch self-parodic. [Apr 2022, p.88]

The DLO3 serve up a decidedly old school-sounding platter whose feel-good vibe is infectious. [Mar 2022, p.86]

The sextet returning to their complex basics. ... They still struggle for hooks, though. [Mar 2022, p.83]

A succession of haunting story songs. ... Closing track After The Rain, meanwhile, is a hymnal balm. Less happily, he's made a part return to his original calling as a spoken word poet. [Feb 2022, p.89]

1991's indie strivers and success stories, over three nugget-selected discs. [Mar 2022, p.98]

There's not much here to rival very top Tull but then nothing that sullies the venerable brand either. [Feb 2022, p.83]

Apart from the upbeat soul of Never Want To Be Kissed, featuring Stax veteran William bell on vocals, Set Sail stumbles and squints through its nine other tracks, although on Bumpin' they at least rouse themselves long enough to sound like Tony Joe White imitating Sly Stone. [Mar 2022, p.86]

The musical density doesn't quite complement the elegiac lyrical flow, and a change of pace might have meant another way forward, but there's tenderness to spare. [Feb 2022, p.90]

Hall explores his anger and depression through mostly downbeat but frequently beautiful ballads. [Feb 2022, p.87]

If the forward-looking, ever exploratory production just occasionally outguns the songwriting, Daft Punk-ish floor-filler The Last Dance is unimpeachable, a defiant shimmy toward the apocalypse. [Mar 2022, p.82]