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]

Where the spiraling The Tide is a ringer for his old band, he's at his best when he's playing a velvet-voiced Mephistopheles on A ghost or leading a spectral New Orleans jazz band on through the low-key electronic soundscape of Lockless. [Apr 2020, p.109]

Despite the voices changing from one song to the next, Marshall never lets you forget you're listening to the same LP. Mission accomplished. [Apr 2020, p.109]

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]

They nail it from the start. [Apr 2020, p.111]

Each of Stray's tracks bring with it a sense of foreboding, from the eerie short-story-style lyrics to the reveryb-y guitars, which land between Echo & The Bunnymen and Ennio Morricone. [Apr 2020, p.105]

They stand up to modern scrutiny. [Apr 2020, p.118]

Top-tier comp. ... A near-perfect musical expression of escape. [Apr 2020, p.118]

The result is an album designed for the feet as much as the head. [Mar 2020, p.106]

Rateliff is writing about his own vulnerability again, rather than telling other people;'s stories, all delivered in a hog-calling bellow that helps set him near the top of the enormous singer-songwriter pile. [Apr 2020, p.113]

Zimpel's most electronic album to date, though it's the kind of moody electronics you're more likely to find in the cinema than the club. [Apr 2020, p.114]

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]

Freighted by unflinching lyrics, Manic is a magnificent - and magnificently raw - pop confessional. [Apr 2020, p.110]

Her voice is magnetic enough to tilt the Earth's axis, the grooves so deep and plush that they could upholster a Cadillac. [Apr 2020, p.109]

Draws you in and then pulls you under. [Apr 2020, p.108]

The tension between invigorating, often exhilarating joyful music and disconcertingly bleak subject matter may be one hardwired into hip-hop tradition, but J Hus's innovative, genre-defying style and evocative, elliptical lyrics prove it can still be an intoxicating combination. [Apr 2020, p.107]

Alone again, naturally - and rather beautifully. [Apr 2020, p.106]

While not every idea feels as flesh out, Modus Vivendi teases a talented artist trying something genuinely new. [Apr 2020, p.105]

One of the chiefs pleasure to be had from The Slow Rush is the sheer depth of sonic treats packed into each song. [Apr 2020, p.102]

They make modern life's drain and strain exhilarating. [Mar 2020, p.120]

Betters his 2015 landmark, Integrity. [Mar 2020, p.119]

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

The result is a pitch-perfect homage to the old master, whose voice resonates as powerfully as it did a decade ago. [Mar 2020, p.120]

Complex, yet approachable rhythmic sketches. [Mar 2020, p.117]

By its very nature, Father Of All... is slight compared to a sprawling magnum opus such as 2009's 21st Century Breakdown, but it's close to impossible to emerge from its rapid-fire near-half-hour without a smile on your face. [Mar 2020, p.112]