Nadler's cathartic inner journey isn't always as easy to empathise with as it is artfully expressed. [Oct 2018, p.88]

There's still no room for the instrumental warm-up, so don't throw out that original bootleg. [Jun 2012, p.99]

The 75-year-old's first album in six years is both tough and tender. [Nov 2014, p.93]

Nit-pick all you want but this is a tour de force, heady, joyful, ambitious, elegiac and--as with the 1968 original--unlike anything else. [Apr 2009, p.99]

White Stuff once again feels like the work of avant-garde self-mythologisers inveigling themselves into the Stones' Nellcote basement. But the riffs, cutting a swathe through dense electronic meltdown, are the strongest they've engineered, together or apart, since 1997's Accelerator. and there's a neww, mature pathos to the likes of Suburban Junkie Lady. [Apr 2019, p.96]

How Big, How Blue, How Beautiful is more lyrically direct and honest, even if the lure of The Big Music remains strong for Welch. [Jul 2015, p.87]

Are You Serious is goosebump thrilling and deeply moving. It's also warm and funny, even in its darkest moments. [May 2016, p.93]

What Pony can't disguise is its influences: Orbison, Presley and Morrissey at their most doleful and camp, channelled through a similarly luscious baritone. [May 2019, p.91]

With the skeleton of a dance beat on Daydream, you can picture Powers doing a little skip around his bedroom, momentarily escaping the sad, hermetic beauty that characterises his record. [Jan 2012, 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]

You can't accuse Powers of resting on his laurels--although it's at the expense of some of that first record's unique character. [Jul 2015, p.91]

Buck's guitars are supportive throughout, inspired by Haines's alternative universes. [Apr 2020, p.94]

Overall, The Chills' seventh album is about Phillipps drawing a line between now and what was seen on screen, gathering strength and moving forward. [Jun 2021, p.82]

A relatively orthodox live recording. [Dec 2014, p.92]

This time there's more of an improvised, experimental feel. ... Once again, Beam wrote most of the songs, but the imprint of both acts is pretty equal. [Jul 2019, p.94]

These are stories about patterns of behaviour, like dreams that keep returning, or won't end. The way out, these songs counsel, lies in relinquishing. [Oct 2019, p.85]

Sometimes, it fits and sounds glorious. ... But on other tracks it sounds like an Aphex B-side is bleeding in from the next room. Beneath the white noise, however, Moreland is in rich form. [May 2020, p.88]

A lovely album, but not one which lingers. [Jan 2026, p.87]

Fourth outing for the hirsute folk/pop alchemist. [Feb. 2011, p. 107]

An odball masterpiece. [Oct 2003, p.110]

A fabulous, strangely soothing listen. [Feb 2004, p.100]

Sharp, sleek, sophisticated, more going on (jazzy horns, juicy backing vocals, switchblade rock guitar) than a couple of spins can take in and seductive enough to keep drawing you back.

We Are Chaos thrives when Manson ditches his horrorcore shtick and actually emotes. [Nov 2020, p.80]

Michael Collins' latest sounds like a 21st century Ween--knowing pastiches of '70s Laurel Canyon, '60s jazz soundtracks and more, with guests. [Oct 2016, p.100]

It feels more like 10 individual songs than an album. [Mar 2017, p.93]

There are some surprising nuances in the set. [May 2016, p.91]

It's a noticeably urban record, an irritated rebuttal to the notion that dance music is dead. [Jun 2005, p.98]

Using jaunty jigs and marches, [Matmos] mishandle flutes, bagpipes, violins and God knows what else to illustrate the mid-1800s battlefield. [Oct 2003, p.111]