Superwolf's arrangements are pretty raw and understated--under-rehearsed, even--but for the better. [Feb 2005, p.102]

At 70, he's still as intense and dangerous as all hell. [Oct 2013, p.95]

Quietly thrilling pop noir. [May 2015, p.100]

Phil's voice is fierce, Dave is warm and the band masterly. [Oct 2015, p.93]

Richly soulful, heartsore second LP. [Dec 2017, p.96]

Wraith finds those heterogeneous elements [post-punk, industrial Krautrock and Angelo Badalamenti-like soundtrack atmosphere] fusing even more satisfyingly than [2015's Highly Deadly Black Tarantula]. [Mar 2019, p.97]

Since 2010's Old Punch Card, he's added opulent modular synthesis to his armoury, a pursuit that reaches an accessible apotheosis here. [Aug 2020, p.89]

Assembling musicians from the electronica, folk and jazz spheres to frame her disquisitions, she has fashioned a disquieting, gripping artefact. [Aug 2024, p.84]

Well yes, there's that ear-splitting explosion of aural nihilist expressionism, but still it's thrilling and has lost little of the initial impact. [Dec 2008, p.120]

Through it all, Veirs' voice remains intimate but deadpan -- a la Suzanne Vega. [Sep 2005, p.96]

The result is 31 minutes of constantly surprising music, more absorbing and less conventional than anything on their self-titled 2005 debut. [Feb 2007, p.102]

McPherson puts authenticity over self-expression with style. [Apr 2015, p.96]

Peaceful Place slips in a bit of Afrobeat and That’s What I Love echoes Channel Orange-era Frank Ocean, and throughout Bridges’ vocal talents continue to shine. [Dec 2024 p.84]

Earthy, reassuringly calloused country and bluegrass is its currency. [Dec 2007, p.110]

Wonky beats and shimmering twisted tech melodies. [Nov. 2010, p. 109]

The folk comes juxtaposed with industrial creaks and eastern drones, the virtuosity tempered with scrabbling wildness. [Sep 2018, p.96]

Fans of Badu, Solange and Janelle must investigate. [Jan 2019, p.85]

The gently ticking, lightly compressed acoustic instrument arpeggios will be familiar to fans of both songwriters, but it's the pair's half-whispered vocals blend that enchants. [Nov 2021, p.88]

Where the previous LP put them on a higher plane and widened their audience, this broadens the palette and consolidates their status. [Sept. 2011, p. 92]

A fun day out only slightly marred by clinical execution that lacks the emotional tug that lovers of this vintage seek. [May 2008, p.102]

This album underlines she's more than a mere rock'n'roll totem. [Oct 2014, p.91]

Young set up a tour with a fine country band playing at state fairs and rodeos. This set includes live, countrified version of Re-actor, Old Ways, Harvest, even Buffalo Springfield and five previously unreleased songs. [Jul 2011, p.120]

Street Horrrsing is a six-track, 50-minute melange of iridescent synths, psychedelic drone, distorted vocals and tribal rhythm, peaking with the deftly layered counter-melodies and blissed -out propulsion of epic single 'Bright Tomorrow.' [Mar 2008, p.113]

Auguste Arthur's third, and best, set of lonesome-pine Americana. [Jun 2012, p.100]

An extraordinary album. [Aug 2002, p.95]

For those new to Sylvian's work or for those who tuned out after Tin Drum, this welcome career cherry-picker serves as a perfect portal to discover some of the most haunting and beautiful music of the last two decades.

Dangerous, magical, and gleefully noisy. [Dec 2003, p.113]

A disorienting work somewhere between Scott Walker, Joy Division and Matmos. [May 2004, p.105]