When the title track and poignant closer This House Has No Living Room, open out into bare-wire nocturnal balladry of limitless emotional beauty, Burslem's single-minded mania is vindicated, and the listener's happiness guaranteed. [Mar 2019, p.98]

It's not easy to make Sabbath-style proto-metal sound fresh, but Black Mountain have a way of writing songs that go to the places you hope they will without descending into cliche. [Oct. 2010, p. 92]

An irresistibly raucous entree to their world. [May 2020, p.88]

It's a sumptuous collection. [Nov 2014, p.100]

Sometimes playful, sometimes starkly beautiful. [Dec. 2011 pg. 95]

What you may lose in rock'n'roll kicks you gain in poignancy and poetry. [Mar 2013, p.86]

No Geography bears testimony to superior crate-digging chops, cut-up skills and disco. [May 2019, p.86]

Musically, Stewart's ambition to marry first-album Suicide with Einsturzende Neubauten and latter-day Scott Walker has been realised with aplomb. [Mar 2014, p.95]

Her second full album centres on sophisticated rococo pop, but there's also a nice viscous, keyboard-heavy prog undertow. [Mar 2015, p.93]

Animal Joy surfs similar channels to their last release, The Golden Archipelago, evoking stratospheric textures anchored down by melodically well-honed tunes. [Mar 2012, p.102]

Beautifully arranged, its four pieces amplifiy Sunn O)))'s signature drone rumble. [Jun 2009, p.96]

Hinterland feels less like the spirit of the dance floor and much more like the crush of a weaponed march. [May 2015, p.98]

[A] dark and glorious vision, reinterpreting Nashville country-soul hits from the '60s and '70s. [Jul 2016, p.97]

These songs conjure shifting states-of-consciousness. [Aug 2017, p.97]

An intimate, thematic country-blues-rock set. [Nov 2021, p.93]

Amadou & Mariam have created a thought-provoking time capsule for future historians; a genuine masterpiece documenting the Malian unrest that is poignant, passionate, and directed equally at the head, feet and heart. [Nov 2017, p.101]

This is a record of delicately sculped nuages, all wispily sung by guitarist/keyboard-player Wata. [Mar 2022, p.80]

A densely orchestrated album that, even by his standards, is full of reflective melancholy. [Dec 2017, p.90]

Following 2009’s ‘re-enactment’ shows, here, finally, is this fabulous, full-blooded seventh LP. Aficionados will be punching the air within the first minute of opener Hide & Seek: it’s all there. [Oct 2024, p.82]

This second album builds on [2017's Feed The Rats'] sure foundation, the tracks now numbering six and dialling down the long-form indulgence in favour of more tightly focused song structures that sacrifice nothing in intensity. [Dec 2018, p.88]

There's little commerciality, although It came back gallops along cheerily, but there is the sense of a man doing as he pleases and guessing - correctly - he'll take his audience with him. [Apr 2022, p.85]

It seems to have been compiled via the randomness of fridge poetry, but that's a strength rather than a weakness. [Mar 2026, p.96]

Hammill's best solo album in a long time. [Dec 2017, p.91]

On Reflection swirls, flutters and swoops like leaves on the breeze. [Jan 2018, p.89]

Blackwell remains an inveterate magpie of all things psychedelic. [Sep 2023, p.84]

The latest set of back-porch ballads, junkshop country hymns and chiming indie rock--all born of his beloved Arizona desert. [Nov 2013, p.94]

Elegiac Montreal collective's relatively orthodox sixth album. [May 2010, p. 97]

The three October US shows, top-drawer soundboard recordings that have been around for years, are full of those supersonic instrumental flights that are so dependent on mood. [Mar 2020, p.1032]