On a par with McCraven's similarly sprawling and revolutionary Universal Beings--and that's no mean feat. [Jan 2020, p.89]

Ford still has a country rasp to her voice, but doesn't over-sing, and her method of expressing emotion is deft rather than melodramatic. she can build up power, too. [Mar 2020, p.87]

Creativity sometimes croaks when domestic bliss walks in, but not here. [Sep 2010, p.96]

What could have been a confused, trying-to-be-hip mish-mash is instead a re-playable collection of extremely strong songs, Paul's most interesting, varied and soul-baring in years. [Dec 2013, p.84]

This fluidity of their eighth album becomes a virtue for this project. [Nov 2011, p.93]

Interlaced with songs of celebratory surrender are darker tracks that delve into anxiety and neurosis, and these are the most powerful. [Apr 2025, p.83]

Dreamy and cacophonous. [Feb 2013, p.98]

Sustaining a dreamworld mood throughout, Changephobia is a quiet beauty. [Jul 2021, p.87]

It is full of sublime moments. [Mar 2015, p.97]

There's a peculiar tension in the way the stripped down electronic and acoustic percussion and Shemie's reverby incantations work together. [Mar 2013, p.89]

With high-gloss production, shameless retro references and big-thumbed slap bass, Kindness's album is frequently preposterous. Great pop music often is. [Apr 2012, p.89]

The music and mood's emotional connection makes the Furnaces a band to love at last. [Sep 2009, p.95]

Realised with friend Chet JR White in San Francisco on reel-to-reel tapes, the songs grab from Phil Spector, Beatles, Beach Boys, JAMC and Spiritualized, and are all the more enticing for it. [Jan 2010, p. 103]

It's audacious, experimental and, unsurprisingly, resists literal interpretation. [Jul 2016, p.94]

Throughout, singer Ellie Roswell is a compelling presence, and the result is Wolf Alice's best yet. [Oct 2025, p.80]

Wasted Light finds Foo Fighters at their boldest, their most vivid. [May 2011, p.101]

The mind-boggling multiplicity if voices on Key Markets, the sneaking sophistication, and the beyond-colourful language, serve up a currently unrivaled feast for the mind. [Aug 2015, p.89]

There's nothing bland about this fervid, ideasy album. [Sep 2015, p.90]

Unwieldy on paper, it comes to life through odd, prickly phrases, but the music cuts deepest. [Aug 2014, p.93]

Worth the 10-year wait. [Nov 2019, p.91]

Chock-full of elegiac, beguiling earworm melodies. [Aug 2014, p.92]

This is not a Big Rock Record. Instead it's intimate, multi-layered and uplifting. [Apr 2005, p.86]

An impressive emotional ebb and flow on this heart-swelling debut solo effort. [Nov 2016, p.96]

The second CD's half-hour of demos and discards is a repeat-play joy. [Nov 2015, p.102]

Their template of new music plus archival spoken word is revitalised here, with Earhart’s writing voiced anew by actor Kate Graham. Towards The Dream is guitar-twanging exhilaration. [Nov 2024, p.84]

Interspersed with scored interludes and fragments of poetry read by Jessica Griffin of Would-Be-Goods, the effect is one of benign diffusion, the hazy avenues of MacLean's impressionistic lyrics running through the music as if the songs themselves now inhabit that hypnopompic state of consciousness where the centre cannot hold. [Aug 2023, p.86]

[Singer Hazel Wilde's] words are clear, emphatic and beautifully sung, like a post-rock seer gazing over the landscape. Her bandmates also play their socks off. [Mar 2020, p.91]

A strong contender for soul album of the year. [Oct 2007, p.98]