Leithauser's voice is its usual delicious scuffed-up howl, the music covers a broad indie-rock sprawl, but the focus here is the stories. [Jun 2020, p.102]

The Chatham Singers furnish these 12 tracks of street crackle and pop with skeletal verve. [Jun 2020, p.94]

Against all odds, this is a brilliant second act. [Jun 2020, p.97]

Rodriguez digs deeper into rave and party culture here. [Jun 2020, p.97]

Soft soul, gibbering jazz fusion and the cyber-futurism of overseer Flying Lotus still works a collective shock. [Jun 2020, p.96]

An intimate, close and enjoyably ambiguous record. [Jun 2020, p.94]

Beautiful stuff. [Jun 2020, p.94]

Casablancas's lyrics are, as ever, largely and deliberately incomprehensible, but enough phrases slip intermittently into the foreground to convince you that they must mean something. [May 2020, p.98]

That Godrich is a master at harnessing restless energy should be no surprise. Here is further proof. [May 2020, p.112]

The album's deft genre-hopping is navigated with a confidence that comes from clearly hard-won experience. [May 2020, p.110]

This is lush music to get lost in. [May 2020, p. 100]

The general vibe is of music for well-upholstered hotel suites. [May 2020, p.104]

It's clever, effortless and very likable. [May 2020, p.110]

High Risk Behaviour is about as enjoyable as the sound of bored small-town kids thrashing around with guitars gets. [May 2020, p.107]

A montage of brief yet expansive instrumentals, it veers from the richly choral to the dissonant, from busy polyrhythms to spare, awestruck synth-symphonies. [May 2020, p.112]

This utterly beautiful balm of a record feels less like a confessional, and more a vessel for warmth, serenity and worldly wisdom. [May 2020, p.114]

Unusually welcoming entry point. [May 2020, p.92]

A set of songs that can be chilling but never cold. [May 2020, p.109]

Rejoice is sparse, just drums and bass, with Masekela's flugelhorn providing the fluidity and freshness that elevates it above the park kickabout it might've been. [May 2020, p.100]

There's not much room for nuance, but who needs subtlety when you've got pounding riffs and heroic guitar solos like this. [May 2020, p.112]

There are worse things to listen to as society slides into the abyss. [May 2020, p.104]

Six albums in, Baxter Dury has realised a sound and lyrical approach that is unmistakably his alone. [May 2020, p.101]

It finds Morrissey wandering down some interesting musical avenues. [May 2020, p.109]

Hey Joy, the second track on The Districts' fourth LP, is a moment of near-perfection. ... It's a bar the rest of You Know I’m Not Going Anywhere never quite reaches, though, it comes close. [May 2020, p.106]

It's a suitably schizophrenic listen, the bubblegum-pop attack of Wasted On You and Move To San Francisco contrasted with the soul-searching anxieties of the album's second half. [May 2020, p.100]

At times the meandering is frustrating, while at others the release when a song finally locks into its groove, as on the twisting Lipstick Song, makes the experimentation all worthwhile. [May 2020, p.110]

It's an experimental, fitful listen that rewards concentration. [May 2020, p.103]

There's almost too much bubbling up in their heads. [May 2020, p.109]