This trio is on fire.

When drummer Ash Soan first joined the touring band in 2022, he seemed quite nervy and lacking in the confidence and freedom that Amos needed for her music to truly soar. When the tour resumed for the second leg in 2023 though: wow - what a difference a few months makes!

The connection that has developed between these three extraordinary musicians is palpable on this record, and each one of them shines thanks to the impeccable engineering and production (it's so ... read more

With each release, Bjork continues to be the one artist that makes me think "wow, she really is continuing to push herself artistically in a way that few other 90s artists do", whilst simultaneously concluding that I'll likely never choose to listen to the album again. I miss the melodies, frankly, but I suspect she doesn't care. All power to her.

Thorpe's solo debut 'Diviner' was a slow-burner for me, and this has similarly taken a few spins to properly get under my skin. More electronic than its predecessor, MFMD has a nice consistent sound to it and Thorpe's voice is as as delicate and aching as ever. The glistening 'Golden Ratio' is beautiful and dreamy - definitely a highlight.

Indeed, the whole album is pleasant and tasteful, but it does all kind of fade into one a few songs in, and leaves me with a niggling sense that Thorpe is ... read more

For the past 20 years, I've been a slightly reluctant Tori Amos fan. God, I absolutely adored her first four LPs, but since then, her albums have been overstuffed, unnecessarily complex affairs that, whilst containing *some* great songs, have all been a bit of a slog.

Those occasional great songs managed to maintain my interest just enough to not abandon my teenage hero completely in these more recent years, but I've always approached each new album with a certain amount of fear and ... read more

When Sam Fender is good, he's really fucking good.

I could listen to Jenn Wasner sing all fucking day. That's my review.

After the painfully neutered identity-crisis of I Can Feel You Creeping... this was such a welcome surprise. The wonderfully chaotic staccato funk of their early records has returned and Merrill Garbus sounds like she's having fun once again. And some of those vocal harmonies, man - just astounding! One of my favourite records of the year, without doubt.

Favourite album of 2019.

Loved his debut. This one just feels like a collection of offcuts, sadly.

Not as bad as some people are making out, but certainly not something I'm gonna bother listening to much.

If a Guardian columnist ever decided to write an album, it would sound like this.

I adore Tune-Yards' previous albums, but this one just doesn't do it for me on any level. All the elements that made Tune-Yards an interesting proposition previously - intriguing vocal harmonies; musical derring-do; fun! - are completely missing on this record. Garbus has never rested on her laurels, developing the band's sound with each subsequent release, but this one was a step in completely the wrong ... read more

The brilliant lead single, Life Itself, promised great things, but nothing else here really comes close to that, sadly. That's not to say this is in any way a bad album - it's certainly not - but by the end of it you're left with that nagging feeling of a band not that's still not really coming close to achieving its full potential

You're trying way too hard now, Daughn...

Nice enough, but really nothing new

She has yet to top the magnificence of Ys, but this is still a breathtaking collection. It meanders a little too much in the middle, for my liking, but Anecdotes; Sapokanikan; Leaving the City; A Pin Light Bent; and Time, as a Symptom make for an excellent opening salvo, as well as a near-perfect conclusion. The ending of Sapokanikan is, without doubt, my favourite musical moment of the year. Chills.

Curiously, this album contains some of her most thought-provoking lyrics, yet also her most boring and straight -laced compositions. It's not as bad as some Amos fans would argue, but is too long and 'safe' to ever really catch fire the way her previous work did, with the cod-reggae of 'Ireland' ushering in an all-time low for Amos.

I never want to hear this album again. What happened, Mr Shadow?

Really disappointed with this effort after their impressive debut. They've clearly gone for a more radio-friendly sound and, in so doing, have lost much of their originality. Shame.

Must surely win the award for most critically overrated album of 2015.

I like this album, though remain unconvinced by the 'return to form' fanfare it garnered in the press. It is, however, a step in the right direction and hints at what may still be to come from Amos. The song arrangements are generally straightforward and unfussy, pushing her grossly underrated piano skills to the fore, just as on her earlier LPs. Frustratingly though, the production still feels a bit flat, uninspired and, at times, outdated, whilst her husband still insists on over-egging his ... read more