Between My Head And The Sky is an intriuing record, crackling with an excitement that most new artists would struggle to generate. [Oct 2009, p.97]

This jazz grandee has nothing to prove, but his quest for a deeper understanding of the human spirit is encapsulated by Sacred Thread. [Dec 2022, p.87]

This album was submitted to Radio 1 in lieu of a mix, and in many ways it works better when considered on those terms. Because lots of the tracks have a similar vibe they could blend in perfectly well with each other, and it’s a shame that they don’t overlap at any point as this could have improved the overall experience. However, the album is still immensely enjoyable and generously rewards repeat listens.

The Brewis brothers opt for distinctive texture of sampled acoustic guitar. Measure--a sprawling gem of album-- is full of such inspired decisions. [Mar 2010, p.98]

[Producer Bach shaped] fragmentary song ideas into sprawling, free-flowing arrangements that nod to Mark Hollis, Tim Buckley and Jim O'Rourke. [Sep 2016, p.90]

A piquant appetizer for the impending movie re-boot then, and a balm to those who still wake up screaming because of Stallone's 1995 film. [Jun 2012, p.82]

It's more varied and interesting: angular, Cure-guitar shapes, echoing shapes. [Oct 2018, p.94]

Broken Brights is like a stroll along the beach at dusk; reflective, intimate, nostalgic and yet full of tomorrow's promise. [Aug 2012, p.92]

A quietly entrancing atmosphere is sustained throughout. [Jul 2024, p.84]

Played with authority and aplomb. [Sep 2013, p.96]

While tracks like The Whirl, Receiver, Sensory Street and Human are among Marr's most impressive, Fever Dream is too long, uniform and persistent to enjoy in one sitting. Perhaps best, then, to take your time and discover its sparkling delirium in its 4 x 12-inch singles form. [Apr 2022, p.81]

Brutal and delicate, merciful and relentless, [Ahmed] luxuriate in the new spaces and sightlines the studio opens up. [Feb 2026, p.87]

Freed from that angst, the group sound more savage, more inspired and, crucially, more fun than they have for a quarter of a century. [Dec 2016, p.88]

This album underlines she's more than a mere rock'n'roll totem. [Oct 2014, p.91]

It's a coherent entity which should be heard as a whole. [May 2023, p.89]

Lasting only an economic 33 minutes; on this form, she could pull off a double album. [Apr 2021, p.84]

Muscular, melodic... this is the best outing yet from the Etheridge-Travis Soft Machine. [May 2026, p.90]

There is nothing brash or student bout these subtle, layered songs: her vocals remain hushed, confiding, blurry, a distant cousin of Justin Vernon's abstract exhalations. [Jun 2026, p.84]

A ragged triumph. [Jul 2026, p.88]

Earthy, reassuringly calloused country and bluegrass is its currency. [Dec 2007, p.110]

A release that impresses throughout. [Nov 2011, p.99]

This is unlikely to expand thier fanbase, but The Mars Volta are making music built to last. [Feb 2008, p.113]

It's clever, funny, confrontational and touching. [May 2017, p.94]

Overall, it's a gently entrancing and quietly elegant album. [Sep 2025, p.80]

An inspired makeover that only serves to complement Weaver's past achievements. [Aug 2019, p.93]

Five unreleased LP outtakes and alternate versions make this essential even for Fucked Up completists. [Feb 2010, p. 115]

Moonbuilding 2703 AD proves that his space academy can still churn our excellent results. [Aug 2015, p.88]

Thee oh Sees have never done ‘Thee oh Sees’ quite as well as they do here, a riot of lucid cacophony, androgyny, glowing vignettes of loveliness, and two drummers caught in the most sublime lockstep.