The whole set is sumptuously produced and is the trio's most fully realised sonic adventure yet. [Summer 2020, p.98]

This zeitgeist-friendly genre-hopping proves the trio are moving with the times, but it's satisfying to note that when they return to their starkly simple, powerful melodic trademark sound on closer Hallelujah, Haim remain in a league of their own. [Jun 2020, p.94]

Love, Death & Dancing finds Garratt charged with a new, bright energy. [Summer 2020, p.100]

The likes of Once and Now That I Found You suit the stripped-back aesthetic perfectly but it's the strings-assisted version of Sad Song that is the real showstopper here. [Jun 2020, p.100]

22 miniatures serving up sliced funk, jazz and soul with all the dexterity and precision of a sushi chef. [Jun 2020, p.102]

At its core On Sunset is the sound of someone genuinely excited about all the glorious possibilities the world of music has to offer. [Jul 2020, p.96]

It's an enchanting and quietly moving new chapter. [Jul 2020, p.104]

Fittingly complex. [Summer 2020, p.107]

A couple of tracks featuring Kember's spoken word are skippable, but elsewhere such druggily joyous songs as Just A Little Piece Of Me and the triptastic I Can See Light Bend induce pleasant daydream states. [Summer 2020, p.105]

He's better when he approaches modern life from more oblique angles. [Summer 2020, p.104]

This is the sound of a band perfectly balanced and creatively ablaze. [Summer 2020, p.104]

The record's second half feels a little dreary after the spectacular opening, but the combination of doleful beauty and violent emotion that makes Hadreas's work extraordinary is never hard to find. [Summer 2020, p.104]

With strings, brass and a great deal of drama on his side, it's a beautiful escalation. [Summer 2020, p.103]

A record that pulls you in slowly over repeated listens. [Summer 2020, p.103]

There are funk-pop uplifts too, but it's when he slows the pace down that Eastgate really comes into his own. [Summer 2020, p.101]

Hypnotic stuff. [Summer 2020, p.100]

The connective sense of an on-the-hoof holiday from the day job, plus emotionally deep and humorous lyrics, make this a winner. [Summer 2020, p.98]

A masterpiece in mood setting, the apocalyptic Punisher aches with sadness, but Bridgers doesn't wallow. ... The end of the world rarely sounds this good. [Summer 2020, p.106]

Everything here sounds how Jehnny Beth is meant to sound, making To Love Is To Live a record as masterful as its creator is complicated. [Summer 2020, p.99]

While the ringtone-catchy Alive and fuzzed-up Stressy are obvious standouts, it's the reckless try-anything funk of Leader that holds best claim to being Flight's spirit guide. [Jul 2020, p.106]

A sublime tonic. [Jul 2020, p.113]

Mature, classy and a hard-earnedtriumph. [Jul 2020, p.105]

Cover Two shows no dimming of eclectic tastes or interpretive skills. [Jul 2020, p.108]

For all its characteristic lyricism and stylistic restlessness, to say there is never a dull moment on Notes on a Conditional Form would be a slight overstatment. [Jul 2020, p.103]

It's the multi-layered harmonies and busy, overlapping rhythms that stick. [Jul 2020, p.104]

No band should by rights sound as sharp, melodic and funny more than 50 years into their career, but Sparks are no ordinary band. [Jun 2020, p.113]

Mutable Set is best at its most surreal. [Jul 2020, p.110]

Viewed either as an introduction or reinvention, Williams emerges as a formidable solo artist here. [Jul 2020, p.111]