songdreaming is by no means perfect; Lee’s version of Black Dog And Sheep Crook comes on a little too much like Dave Brubeck’s Take Five, and his Anglicisation of Robert Burns ballad Aye Walking Oh feels a bit unnecessary. However, Lee does unaffected loveliness very well (case in point: the closing Sweet Girl McRee), and his intense empathy – for the bees, the trees, the birdies and his fellow man – shines through. [Apr 2024, p.80]

With its measured banjo pecks and perfect shadow bv's, courtesy of rising Southern rock talent MJ Lenderman, Right Back to It's simple classicism seem to explore over sensitivity, while Crowbar, possessed of a lovely, Peter Buck-ish jangle, also stands out. [Apr 2024, p.91]

The results have the in-the-room intimacy of Lenker's best work. [Apr 2024, p.91]

Tapping myriad trusted influences yet distilling something uniquely corvine, it's a thrilling return. [Apr 2024, p.82]

Jones has rediscovered her mojo. [Apr 2024, p.82]

The Great Bailout is a grand, artistic and political statement in an age when such vision is too rarely attempted. [Apr 2024, p.87]

The songwriting's uniformly exceptional, the messaging on-the-nose and inspiring - and boy, can he still play guitar. [Apr 2024, p.82]

Throughout, Power's vocals retain their lovable keen and Youth's production is uncluttered and crisp. [Apr 2024, p.88]

The veteran 4AD band bring a depth and worldliness to these songs that sets them apart. [Apr 1024, p.92]

Glasgow Eyes' liberal use of electronics is a renewing force, and a kind of homecoming too. .... Glasgow Eyes is a positive twist in the sage of these negaholics synonymous. [Apr 2024, p.86]

The Candy House's garbled distress flare or the My Bloody Neubauten of I Don't Miss My Mond confirm she is still picking up signals nobody else can, [Apr 2024, p.88]

Don't be deceived: these songs have the substance to become - unlike those eBay purchases - an obsession that sticks. [Apr 2024, p.83]

Pissed Jeans' fist-pumping tunes, thrilling noise and acidic wit ensure their permanent bummer is always a good time. [Apr 2024, p.87]

A confident and substantial evolution of their sound. [Apr 2024, p.89]

This is too much fun to be a one-off. [Apr 2024, p.82]

In just any universe, Playing Favorites would dominate the world's FM stations for two years straight. [Apr 2024, p.84]

This cool and stylish record should make the jazz best-of-year lists. [Apr 2024, p.90]

Classic songwriting creatively re-imagined in pulsating, droning, rackety new environs. [Apr 2024, p.89]

An alleviating statement from an artist whose curiosity and striving fir development have remained a driving force. [Apr 2024, p.85]

A gently breath-taking wonder. [Apr 2024, p.91]

Walls is an essential slice of art-punk history. It's also a blistering good time. [Apr 2024, p.97]

An elegant, thought-provoking record. [Mar 2024, p.86]

Brilliantly executed with Shirley Bassey-like surety in an arresting, always distinctive, lyrical voice. [Mar 2024, p.89]

Daniel conveys an expert melancholy. its ups always just on the brink of an elegant down. [Mar 2024, p.88]

Heavy though it is, the songwriting remains remarkably light and agile. [Mar 2024, p.88]

A mesmerising return. [Mar 2024, p.90]

For all its filigree detail, Spring Eternal is a big philosophically questing record, a velvet glove hiding a death-like grip. [Mar 2024, p.90]

For all the heartache, Blu Wav is surprisingly uplifting, transcendent, even.[Feb 2024, p.85]