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

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]

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

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]

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]

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

It's all very cinematic and atmospheric but with lyrics offering a light, sixth-form poetry vibe, much here is easy to bid adieu to. [May 2020, p.109]

Occasionally needs higher definition, yet her brittle voice and watchful lyrics cut through the Cocteau Twins grunge of With Love, the eye-rolling daze of All My Friends Are Drunk, the slacker energy of Keep It Near. [May 2020, p.100]

For all the many diverting moments, the lack of judicious editing leaves the album spending too much time going round in circles. [Apr 2020, p.114]

Ambition aplenty, but spread too thinly. [Apr 2020, p.111]

Color Theory is a record that weighs heavy with low self-esteem and personal tragedy. [Mar 2020, p.122]

Dividing their labour between two vocalists and songwriters does much to keep this second record interesting. [Apr 2020, p.113]

While taken individually each song has its merits, as a whole, Spook The Herd is disappointing musically, with nothing rising out of the politely artful haze to truly engage. [Apr 2020, p.111]

While the thumping psych-rock of Rollercoaster shines a light on the fears that still plague her, it's lead single For The First Time that makes for the most refreshing and cathartic moment. [Apr 2020, p.105]

Singer Dan Hyndman's mannered voice can get a bit wearing, but once Mush have bedded in, the evidence is here for a bright future. [Mar 2020, p.118]

A little more thematic variation would be welcome, but there are worse soundtracks to the chaos of the new decade. [Apr 2020, p.114]

As an act of Catharsis, Storm Damage was clearly an important one for the singer, even if ultimately it yields mixed results. [Apr 2020, p.114]

Their second album may not pack many surprises, but vocalist Haley Shea proves engaging company. [Apr 2020, p.113]

The LP's monotonous back half leaves Jackson running to stand still. [Apr 2020, p.111]

Their debut's wilful eccentricity is mostly unconvincing. [Mar 2020, p.119]

Even when the music threatens to sag into MOR dullness, as on Slow Burn Love, Almond's unmistakable voice - equal measures of defiance and fragility - lifts it up high.[Mar 2020, p.114]

It's during the quieter moments that Fearless discovers real depth. [Mar 2020, p.117]

Aims for the middle ground, aided by Phil Ek and a sturdier indie-rock back-up that doesn't always suit them. [Mar 2020, p.120]

A four-part story in the record's centre is propelled by a whirligig of percussion that rapidly becomes total overwhelm[ing]. But in its final 20 minutes the album finds steadier ground, allowing space for Deacon's undaunted imagination to come into its own. [Mar 2020, p.117]

Offsetting these slightly creepy lyrics, however, are seductive sonics. [Mar 2020, p.122]

At times, Leaneagh and Ryan Olson, her co-conspirator, glance off power-balladry, but when they ditch the linear, Poliça find their true form. [Mar 2020, p.119]