Perhaps Terje pushes the eclectic envelope too hard, but dance albums are rarely this fresh, distinctive and evolved. [May 2014, p.93]

It's a record full of fabulous intros. [Aug 2018, p.100]

Even amid its fluffy ornamentation, producer Tucker Martine spikes the players' innately epic capabilities with a puritan elixir. The rewards are considerable. [Jun 2015, p.84]

GBV's only LP of 2013 and it's a good'un. [Jun 2013, p.95]

With simple surf beats and a lyrical bent that takes in everything from ladymen to male models, All Hands... is mostly playful (You're No Rock & Roll Fun) with a touch of pathos (Was It A Lie), but not a bad one in sight.

Despite the extended sabbatical, Leftfield’s muscular, invigorating presence remains undimmed.

A low-key exploration of how delicate melodies, processed noise and the occasional beat can intertwine, When It Rains drifting artfully to uncompromised skronk. [Oct 2025, p.83]

Elements of deep soul and space-age pop combine to create a retro-futurist vibe, songs sounding instantly familiar but slightly fried, as if beamed in from other worlds. [Feb 2023, p.84]

Yet it all still swings, rocks and rolls like a galleon in a squall, the Stones live remaining the luxury you can't do without. [Mar 2023, p.102]

At its core, this is pop music of a rare assurance. [Oct 2018, p.91]

A sophisticated set of cutting edge R&B.... TLC's best, most consistent LP. [Dec 2002, p.106]

It's a hugely inventive slab of sonic theatre plotted to the tiniest detail. [Oct 2016, p.99]

Ultimately, by stylistically venturing back and forth in time, Aaron Frazer has struck gold with Into The Blue, a multifaceted soul album that blurs the past, the present and the possibilities of the future. [Aug 2024, p.82]

The result is a bold, career highlight that's dizzyingly inventive on the surface, with a powerful emotional undertow. [Jul 2023, p.87]

It's chugging, stoner rock riff solace to those bored by the cod therapy of Some Kind Of Monster. [Oct 2013, p.98]

A hazy treat. [Oct 2006, p.103]

If you like Papa M and Nic Jones, prepare to be delighted. [Feb 2025, p.87]

When Bills, Aches & Blues works -and it nearly always does - it's more complex, though, pulling together the threads of an enduring artistic legacy to intriguing effect. [Jun 2021, p.85]

Fans disappointed at the resolutely unexpanded LPs should be aware; the upgrade makes revisiting them a supreme enjoyment anyway. [Nov 2011, p.110]

This new project from Shearwater's Jonathan Meiburg signals serious sonic intent but wears its experiments lightly. [Apr 2018, p.96]

In 10 crisp, playful songs restores the exalted standards of the band's legend. [Dec. 2011, p.93]

Allison is as vocally ethereal as [Kendra] Smith and Newcombe as filmic and adventurous as [David] Roback. [Mar 2025, p.92]

This is mature, tuneful and utterly approachable album. [Mar 2013, p.87]

There's a great live feel, especially on the more uptempo cuts. [Apr 2019, p.90]

This has more than enough beauty and character to stand on its own. [Mar 2009, p.107]

The singer-songwriter's fifth is no less over-reaching and torrid in its back-story [as 2013's Once I Was An Eagle]. [Apr 2015, p.90]

Clapton hasn't sounded quite so inspired in years. [Jun 2016, p.88]

The alien instrumentation here is systematic rather than fundamental--atmospheric colour that shows Hawley's current mindset rather than confirming some fundamental musical shift. [Oct 2009, p.94]