Matt Korvette is a misanthropic force of nature whether ticking off the negatives of cities from Boston to Rome ("Everywhere IS Bad") or addressing adult responsibility ("Helicopter Parent"). [Mar 2024, p.33]

It may not be fuelled by as many immediate hooks and gnarly grooves as The Overload, but it's a bold progression both musically and lyrically. [Mar 2024, p.24]

If the tunes and attitude don't grip as strongly as they did in either man's era-bending pomp, both parties still sound better for getting together. [Mar 2024, p.27]

At times Sheer Mag are miraculous pop hustlers, still pulling off the most absurd trick shots on the scuffed three yards of stained green baize. Which isn't to say that they're not above a little experiment. [Mar 2024, p.22]

The quick-take, live-in-the-room approach serves these songs well. [Feb 2024, p.30]

The south of France motorik and funk bass of "Protéïformunité" similarly reassure, before "Don't Forget You're Mine" charts choppier waters and communication breakdowns. "The Inner Smile" returns to Sadier's central quest, propelling her mantras of sexual and global reg=integration with eruptive, flute-heavy prog grooves. [Feb 2024, p.35]

Elemental and menacing. [Feb 2024, p.35]

It's notable for uncensored emotional gloom and an evergreen college sound. [Feb 2024, p.37]

As always, you know what you're getting -- and you get that they're knowing. [Feb 2024, p.27]

An album that is leaps and bounds above anything else Shah has done before – a record that’s layered and detailed, coated with beautifully rich production, yet also spacious and considered. [Feb 2024, p.23]

There is a hint of Nashville in the production, a dash of steel guitar, but the main symptom is the clarity of the sound. It dares to be understated, pushing Real Estate's artful ambivalence into the light. [Feb 2024, p.35]

They make a welcome return to the looser, roots sound of earlier albums. [Feb 2024, p.28]

It's a modern masterclass in psych pop. [Feb 2024, p.31]

Doyle has made a record that is as intricate as it is infectious, creating a deft yet complex pop collage that turns a troubled and chaotic world into a beautiful spectacle. [Feb 2024, p.28]

Switching guitars opens her songs up considerably, but Cohen maintains the intimacy and intelligence that have always been her signature. [Mar 2024, p.28]

When approached on its own merits, the Dave Cobb-produced Be Right Here is a minor classic of the genre. [Feb 2024, p.27]

It's the first time Grandaddy have in any way rooted themselves in a specific genre, and it proves strikingly successful; Lytle's more experimental electronica pushing against any notion of nostalgia or country pastiche. [Feb 2024, p.24]

The songs are rich in both melody and syncopation. [Feb 2024, p.25]

An instantly engaging, 11-track set with zip, heart, sly humour and real staying power, which shucks off the often dry terseness of the genre without trashing its template. [Feb 2024, p.34]

Tangk is more about diverse, swooning sonic details that support troubled singer Joe Talbot's redemption. [Feb 2024, p.28]

In this sparer setting, the extra space plays to the benefit of McCartney’s loyal co-travellers: “No Words”, which serves reminder just how vital the harmonies of Linda and the song’s co-writer Denny Laine were when it came to defining the Wings sound; Linda’s purring ARP Odyssey and MiniMoog contributions are what suddenly take centrestage on “Jet” and a rollicking vocal-free canter through “Nineteen Hundred And Eighty Five”. Yet, none of that detracts from the primary energy source of Band On The Run. [Feb 2024, p.42]

The likes of "No Sun To Burn" (for brass) or the nine0minute title track, will pull on the listener's heartstrings at least as much as it endorses the composer's process. [Feb 2024, p.31]

Mixes have the tracks - stacked guitars and vocals, bustling basslines, played and programmed drums - hurtling along as if crammed into a tunnel. [Mar 2024, p.25]

While opener "Whispers In The Echo Chamber" tries too hard to startle with blasts of screaming horrorcore, her talent for a melodramatic melodic hook wins through on "Tunnel Lights"'s yearning torch-song noir and the heartbroken small-hours lament of "Everything Turns Blue". [Feb 2024, p.37]

While Phasor standouts such as "Flores" evoke Os Mutantes in a narcoleptic fugue. .... On "Colores Del Mar" and "Out There", he strikes an equally deft balance between aqueous abstraction and buoyant, big-hearted avant-pop. [Mar 2024, p.34]

A Jaime 2.0 likely to secure her status as an auteur in terms of both conception and execution. It's bigger, freer-thinking and more dynamically audacious record. [Feb 2024, p.20]

It's all very tasteful and refined, but ultimately feels a little bloodless. [Feb 2024, p.30]

The music is largely uninteresting, a bland hotchpotch of dub-flavoured electronic styles. [Feb 2024, p.34]