Since I Left You fuses dozens of different styles -- and over 600 lovingly reconfigured samples -- into one riotously enthusiastic, awesomely seamless whole. [May 2001, p.116]

It is Kweli's diligently intelligent worldview, dextrous wordplay and often breathtaking flow that enrapture. [Jan 2005, p.96]

There's not a single weak link on this excellent record. [Aug 2005, p.100]

A satisfying, and often very moving, body of work. [Dec 2001, p.100]

Compare this latest instalment of vivid, left-wing existentialist pop with past triumphs like Mars Audiac Quintet and Emperor Tomato Ketchup, and it's every bit as good. [Apr 2006, p.102]

This time Linkous lets his gift for fractured folk song to resonate without encumbrance from freaky noise slugs. The results are sensational. [Jul 2001, p.98]

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.

Nothing here is naive or inaccessible. [Jun 2013, p.89]

A noble addition to the Giant Sand canon. [Sep 2004, p.96]

(I)NC's pop-punky take on early Deep Purple-ish blues-rock is elegantly streamlined by Rubin's lucid production. [Sep 2004, p.104]

It signals the charged completion of a circuit, the final bridging of a gap between conductors. [Aug 2012, p.91]

The upbeat rockers certainly pull no punches. ... Better still, some gentler tunes reveal his more vulnerable side. [Nov 2017, p.95]

The Window Is The Dream initially seems opaque, but keep looking through and all becomes beautifully clear. [May 2023, p.92]

As Is Now may be his finest and most consistent record since 1993's Wild Wood; possibly even since the days of The Jam. [Nov 2005, p.100]

It's all funny, sardonic, heartfelt and loveable. [Apr 2006, p.106]

They sound joyous even when they're miserable. [Oct 2006, p.96]

The resulting fusion suggests nothing less than an Eastern Astral Weeks. [Feb 2020, p.94]

He and his band sound focused and spry over eight beautifully arranged songs produced by Jackson and Pat Dillett. [Feb 2019, p.90]

All told: here's blues, raw'n'alive. [Sep 2023, p.83]

They do an excellent if eccentric job of evoking the pixelated ineffability of, well, existence itself. [Apr 2021, p.86]

Eccentric yet accessible avant-electronica. [May 2021, p.88]

It's charming, understated and has to be heard in context. [Oct 2007, p.100]

A dizzying tapestry of rave, Chicago footwork, jungle, hip-hop and soulful pop. [Aug. 2011, p. 104]

A lively fusion of politically conscious Afro-beat electro pop. [Apr 2017, p.99]

The music swings again, even if Currie's damning viewpoint hasn't lightened. [Jun 2021, p.87]

[The tracks] are stripped back, letting the raw essence rise to the surface and evoking the strength of feeling that comes through their live performances. There’s the swing of Sam Cooke at the Harlem Square Club, the search for ecstasy of the Family Stone at Woodstock, the power of Aretha Franklin at LA’s New Temple Missionary Baptist Church and the fervour of Mahalia Jackson and Mavis Staples at 1969’s Harlem Cultural Festival. [May 2025, p.82]

A more charming and seductive album you're unlikely to hear this year. [Nov 2008, p.116]

The surprises keep coming. [Nov 2008, p.108]