The constantly shape-shifting and explosive dynamics of this brutal yet accessible blaze of glory are borne from a collaboration that's instinctive, primal and alchemical, effortlessly outclassing the competition. [Apr 2019, p.88]

Natalie Prass's debut luxuriates in the same effortlessly timeless space as Rumer's Seasons Of My Life and I Am Shelby Lynne. [Feb 2015, p.94]

Evoking cinematic cliches is almost unavoidable on a mutant, spirited debut whose diversity is its greatest asset. [Mar 2014, p.95]

An effortless conflation of over-amped belligerence and feisty pop mellifluousness. [Mar 2012, p.94]

Burgess's bushy-tailed optimism and quality control never dips. [Nov 2022, p.94]

Richly layered and astutely arranged. [Jul 2017, p.96]

Aided by Gabrielle Drake's spoken word and arrangements that vary between bare, the lyrical and the dreamy, it makes for a most moving collection. [Jul 2017, p.92]

The Canadian quartet have long proved their sidemen chops, and sound as good on honky tonk, back-porchers or country ballads. [May 2009, p.101]

This is a more soulful, less arch record than Tranquility Base. Not quite as detached from Monkeys past as it first appears, either. [Dec 2022, p.84]

While synth stomp Full Of Fire circles the (twisted) dancefloor, the bias is for brave, immersive, and high-risk music. [May 2013, p.88]

It's surely their most eclectic. [Oct 2009, p.103]

The Cribs of 2009 sound bold, fully-realised, their anthems polished and radio-ready, without sacrificing the acerbic edge that's powered them this far. [Sep 2009, p.88]

While the odd misstep lurks, longueurs are few and far between, the skippy guitar figure of Nightcrawler and creeping tension of Wide I's scaling harmonic heights against the odds, recalling early millennial triumphs Double Figure and Spokes. [Jan 2023, p.86]

Both the Entermedia set and the alternate takes underscore how much the studio shaped and sculpted these songs. Like the etiolated, unstrung Polaroid band portraits on the album sleeve, there’s a lack of connective tissue in these versions, the alternate Found A Job lacking the delirious carnival sheen of the album take, the live Artists Only missing the full cinema-matinee drama of Jerry Harrison’s moustache-twirling keyboards. [Sep 2025, p.88]

Cat's Eyes are the sound of something beautiful in a state of slow decay. [May 2011, p.104]

Even though her dreamscapes are surreal, there are moments that jolt. [Sep 2019, p.90]

This is Black Star Riders' best work yet. [Oct 2019, p.88]

With her soaring, passionate voice the wail of a spectre, she's the incubus Kate Bush. [Aug 2013, p.88]

An album that's lighter on its feet than its closest relation, When I Was Cruel. Jagged but innovative and angry but wry. [Dec 2020, p.86]

Cosmic roots reassert themselves; best on New History and the Mercury rev-ish Waves, Breaking. [Oct 2018, p.94]

The Evidence and Hear The Children Sing are probably lodged in Talya Salsburg and Poppy Oldham’s subconsciouses for life now. Give this beautiful record of uncanny domesticity a few listens, and they may well take up residence in yours, too.

An often terrific record with unexpected arrangements, Butler's feral guitars and Davies's perfect diction. [Nov 2020, p.83]

It is a pleasure to report that nothing has changed. [Jun 2004, p.108]

The boy done good, again. [Jun 2011, p.100]

Lee's declared love of hymns, evident in his falsetto flutter and overarching cavernous mood, should ensure former Oasis fans won't clamor for Bluebell Field or Hold Me Forever, the key tracks to Money's particular, profound brand of Mancunian sound. [Sep 2013, p.91]

Smelts the classic rock canon (Madness, Blur, Bowie, Small Faces) into an infectious, head-spinning punch. [May 2005, p.109]

The Curious Hand is that rare thing in folk: original, self-contained and unencumbered by the genre. [Dec 2017, p.88]

Achieves optimum velocity from the off, and barely settles for less than a vigorous simmer throughout. [Apr 2022, p.85]