The sounds that Volker Bertelmann creates with(in) a piano is astonishing. [Oct 2008, p.112]

The undoubted highlight is a completely reconstructed version of Ring of Fire that's guaranteed to stay in your heart forever. [May 2012, p.82]

Mostly, Suit Yourself matches its predecessor's brilliance. [Jul 2005, p.100]

Contains some of Broadcast's most adventurous music. [Sep 2006, p.118]

An uber-melodious debut.[Mar 2014, p.96]

Occasionally infuriating when great ideas are cast aside indiscriminately, Wolf's vision remains undimmed. [May 2017, p.92]

As an album it's uneven, but tantalisingly the harmony-driven 'Hang Them All' sounds like "Tim"-era Replacements and hints at even bigger things to come. [Sep 2009, p.92]

Despite her emotional punk-meets-Brecht contralto, Marianne's vocal limitations are clear on tracks like 'Easy Come, Easy Go' or Sondheim's Somewhere (A Place For Us)' which she struggles through with an overawed Jarvis Cocker. But she shines on songs that seem more personal to her. [Apr 2009, p.99]

His music finally a match to his unswerving anti-capitalist manifesto. [Jan 2013, p.93]

Never overwrought, A La Sala is a cool exercise in the beauty of restraint and understated groove mastery, exploring new vistas without subverting Khruangbin's blueprint. [Jun 2024, p.88]

Vanishing Point might be the best of this bunch, the group's B-movie R&B leaner and lairier than ever. [May 2013, p.86]

Reveals a still intense and enthralling grittiness to her performances. [Feb 2006, p.93]

[It is] a testament to Hunter's ongoing vim. [Sep 2009, p.96]

After eight years, EWF are right back in the groove. [Oct 2013, p.98]

Seven Dials reminds us of the joy Frame finds in craft, its grateful rallentando endings, plum chord-voicing and exquisitely sung choruses elevating a work that seems part break-up album, part understated redemption story. [Jun 2014, p.94]

Wrangler's is a twitching, throbbing, mildly dystopian sound-world of vivid analogue synthesizer tones, overlaid with heavily processed vocals. [Jun 2014, p.96]

More diverse, howling dirges from the West Coast quartet. [Oct 2015, p.98]

Meredith and David Metcalf craft slow-rolling CA ghost ballads, beguiling end-of-days stories with the same mournful beauty as The Triffids' Born Sandy Devotional. [Oct 2017, p.98]

All 12 songs have a warmth and, often as not, a jangle and sweet harmonies. [Nov 2017, p.100]

The Caribbean funk that results, however, sounds unpredictable, i,possibly human and imperfect. Oh, and fun. [Sep 2020, p.89]

The music makes fearsome sense on its own, but a viewing of The Cry Of Jazz is recommended before listening. [Jun 2023, p.87]

Barratt’s plummy texts present fragmentary narratives aquiver with unresolved tension and hyperreal detail. Her compadre is talking them up as In Every Dream Home A Heartache rebooted, but Loose Talk is surely but an intriguing distraction compared to that pop-cultural landmark. [Apr 2025, p.79]

Gush's sticky, slightly unsettling sensuality suggest Smith is on a serious mission to get right under the skin if human connection. [Sep 2025, p.84]

Psych-pop and trip-hop revivalism collide with a pleasing consequence. [March 2011, p. 99]

Night Cafe, The Future Will Be Silent and the earworm that is Dresden might just be some of their best ever pieces. [May 2013, p.90]

2 is a special new chapter, inspired and beguiling. [Jul 2025, p.79]

[The Nocturne Diaries] is beautiful. [May 2014, p.91]

The sound quality is akin to a great bootleg – vocals suffer during I Ain’t Got Nobody, the only Sly original here – but the energy and impact of the group is brilliantly intact. [Sep 2025, p.94]