Highlights here include the disorientated '60s pop of I Can Recall It All and the snappy, Troggs-like title track. [Oct 2019, p.106]

Each of its 11 songs luxuriating in an unhurried, pillow-soft airiness that draws you in, as opposed to giving up secrets too willingly. Free of expectation, Shura's found her own pace. [Oct 2019, p.108]

Vernon is an expert curator of his emotions, even if i,i needs to let a little more air in under the glass at times. [Oct 2019, p.110]

A dark album for darker times--at 53, Saadiq is still ahead of the curve. [Oct 2019, p.110]

It won't bring down the establishment, but it does light a bonfire under their arses. [Oct 2019, p.113]

It's an impressive feat of engineering, but one that anyone other than ardent fans will struggle to find a way into. [Oct 2019, p.114]

With the group fermenting a heady stew of gnarled psych rock, the result is as droll as it is challenging. [Oct 2019, p.114]

eXquire has charisma to burn and the beats are engagingly woozy. But the contrast between eight-minute epic Nothing's What It Seems: Short Film and the sex raps of FCK Boy! and I Love Hoes show that some things never change. [Sep 2019, p.115]

Twelve Nudes is a deliriously fun, seriously thought-provoking record that manages to gratify on every level. [Sep 2019, p.113]

Set the controls for the heart of somewhere very uneasy, but rather beautiful. [Sep 2019, p.112]

It's a seductive, refreshing but gratifyingly purposeless ride. [Sep 2019, p.1110]

There's a lightness of touch from Turner and his band (and producer Catherine Marks) that makes No Man's Land a welcome diversion. [Sep 2019, p.116]

It's an impressive return. [Sep 2019, p.111]

Despite the title's hint at unruly emotion, the surface of Aalegra's music stays as polished as her voice. [Sep 2019, p.108]

Moving into attack mode suits the band, most strikingly on the monolithic Superbug and the effects-laden boogie of Mars For The Rich. [Sep 2019, p.112]

Face Stabber finds him in cosmic wigout mode, double majoring in late-'60s psychedelia and early-'70s Krautrock. [Sep 2019, p.115]

A debut album of rare potency. [Sep 2019, p.115]

It roars with confidence and vigour. [Sep 2019, p.106]

Despite the pluming black-metal geyser of Death Drop, it doesn't have the evil heft of 2017 predecessor World Eater. [Sep 2019, p.108]

At 10 songs and 35 minutes, Cala doesn't over stay its welcome, making its hypnotic pull all the greater. [Sep 2019, p.116]

It might well be their best album yet. [Sep 2019, p.116]

It mixes experimental sketches and DIY electronica with Animal Collective-like Peel Free's meditation on a life quixotic. At times Aokohio plays like a TV randomly switching channels. [Sep 2019, p.116]

We Are Not Your Kind marks a supremely confident reassertion of their capacity to pulverise. [Sep 2019, p.116]

Their first LP in five years falls well short of greatness, reheating past ideas to the point of cliche. [Sep 2019, p.111]

By simultaneously preserving the intimacy and honesty that made her initial work so striking, Any Human Friend sees Hackman wholly uncensored, and al the better for it. [Sep 2019, p.111]

It never tries to blow the house down. Rather, the soloists take turns to dance around each other, creating a supple and mellifluous air. [Sep 2019, p.115]

A pretty but very conventional collection of love song. [Sep 2019, p.112]

A highly polished R&B-pop collection about every millennial issue from empowerment and self-love to mental health. [Sep 2019, p.112]