It has a head, a tail and a massive great beating heart. [Nov 2017, p.92]

It's a fine album, mixing lean rock anthems... with the kind of ballads lesser artists would need years to write. [Oct 2004, p.116]

Jones's playing is inventive throughout, comparing favourably to his work with the M.G.'s. [Sep 2013, p.86]

They were recorded in different session over 16 years, though feel right at home with each other. [Feb 2021, p.85]

It's the sound of a band on a roll. [Jun 2006, p.110]

A poignant portrait of post-industrial Britain - one that's leavened by some less-than-commonplace vocabulary. [Apr 2025, p.78]

A giddy chaos of fuzz-noise and thundering drums ensures these sclectic experiments still sound like no one else but The dirtbombs. [May 2008, p.114]

Have Some Faith In Magic pushes further out, into a gorgeous and strangely spacey conflagration between the pastel end of '70s prog, the Kosmiche end of funk and '90s dance. [Mar 2012, p.103]

This lean, hungry and impeccably intense record is everything the involvement of those collaborators [RocketNumberNine & Kieran Hebden] might lead you to hope for, and a lot more besides. [Mar 2014, p.95]

Combs's developmental arc as a songwriter continues to soar, and this deep, deep reflection suits him to a tee. [Sep 2022, p.93]

It's a huge step forward on their earlier recordings. [May 2015, p.95]

Intimate, absorbing. [Sep 2020, p.94]

The dozen self-penned songs blend traditional genres rather than rewriting the style guide, but that weight of musical and emotional heritage only adds to the compelling effect of the whole. [Jan 2004, p.99]

Walk The River is far more direct and carries a mood of singer-songwriter writ (very) large. [May 2011, p.105]

A big wet dream of loss and isolation, sex and the search for grace. [May 2004, p.92]

In truth there's little here that wouldn't belong on the 1992 breakthrough, Let Me Come Over, their enduring warm embrace marking Buffalo Tom as a band you can grow old with. [Jul 2024, p.84]

The Record is beautifully integrated, each song feeling like an ongoing conversation, a harmonious thread they can pick up any time. It’s very much worth getting to know it. [Jun 2023, p.85]

Reduced to a duo for Southern Records' live-in-the-studio Latitudes series in 2012, Tucker and O'Sullivan seasoning their cosmic mantras with such sweet tinctures as early Eno, This Heat and the acoustic mirror harmonies of early OMD. With Glynnaestra the potion is perfected. [Sep 2013, p.86]

Razor-sharp production, lazy lolloping dance grooves and a polished, poppy glow lends the debut from Essex producer Tythe more than a hint of anything goes, '80s Balearic sheen. [Sep 2013, p.95]

The album's eight, unusually varied essays largely eschew sonic wallpaper stereotype, invested as they are with playfulness and a genuine sense of Eastern-flavoured spiritual uplift. [Dec 2017, p.92]

Capture/Release's clanking guitars and shimmering melodies meld the abstract and the earthy with a Mark E Smithian panache. [Sep 2005, p.102]

An extraordinary comeback. [Mar 2025, p.84]

The ballads confirm that she was singing better than ever. [Dec 2017, p.88]

Marvellous. [Jul 2006, p.106]

The inevitable irony is that the first-class packaging and mono fidelity makes this serial potpourri feel new and thrilling again - while none of it accurately reflects the Beatles' creative intent and daily momentum. [Dec 2024, p.100]

Expansive, restless, subtly volatile, Radio red is intriguing enough to keep it locked. [Sep 2023, p.84]

The blueprint's not rewritten, but Something From Nothing and The Feast & The Famine dose the Foos format with steroids, while Grohl's earnest delivery redeems the occasional detour into cliche. [Dec 2014, p.89]

In the category of great rap reinventions, file it next to Daniel Dumile's post-KMD rebirth as MF Doom and Ultramagnetic's MC Kool Keith re-training as Dr. Octagon. [Aug. 2011, p. 94]