For all its lofty subject matter, Lost In The Cedar Wood is the raucous sound of modern-day sea shanties. [Jul 2021, p.82]

Strictly for fans of "difficult." [Dec 2021, p.92]

His rueful lyrics are mostly about relationship woes, although Florida Man is more serious, dealing with racism. [Aug 2023, p.82]

While Django Django's eclectic impulses roam wild - Krautrock, house, techno, acid rave and electronica - on this sprawling set, they're anchored by duets. [Sep 2023, p.92]

Best of all is Politics Don Expose Them, which hits hard yet swings on great horn lines and a catchy call-and-response chorus. [Jun 2025, p.88]

It's a perfect mix of expertise and lightness of touch. [Jul 2025, p.87]

While the humour in Always Some MF is more bracing tan previously, it's only on the stark minimalism of Cure For Emptiness where Maltese appears truly vulnerable. [Aug 2025, p.104]

It's the limpid slow tunes - Opal, Night Shade and more - that stand out. Only Storyville overstays its welcome, spinning off into a free-form scrabble, but the lovely Something More restores harmony. [Mar 2026, p.86]

Before comedown-closer Morning Star comes the high point of a very high album: Dream Beat, woozy and sexy, with a bassline you could ride on right through the summer. [Jul 2012, p.94]

Worden can be preposterously experimental - but she's always intriguing. [Dec. 2011 p.96]

It's Bondy's most disturbing record, but equally his most memorable. [Jun 2019, p.88]

If David Lynch were looking to soundtrack dreamlike disassociation, he need look no further. [Jun 2016, p.91]

Exhortations are soundtracked by languid funk that occasionally stumbles into trip-hop autopilot but is mostly electrified by Peng's restless inspiration. [Jul 2021, p.87]

An album of great emotional depth and uninhibited artistry. [Nov 2007, p.96]

Beyond box-ticking cameos from Snoop, Nas, Eminem and Busta Rhymes, horror film-stringed posse cut The Vow (with relative unknowns Mad Squablz, J-S.A.N.D. and Don Pablito) shows LL at his sharpest, “movin’ chess pieces like telekinesis” and stretching his elasticity to ridiculous extremes. Call it a comeback. [Oct 2024, p.88]

District Line is Mould's strongest song collection since Sugar's alt-rock paradigm, "Copper Blue." [Mar 2008, p.102]

The core remains Roberts' discomfitingly pure way with diction. [May 2005, p.109]

The Hawk Is Howling finds the Glasgow's guitar army relaxing the taut, economical songcraft of its 2006 predecessor, "Mr. Beast," and setting a new standard for irreverent track titles. [Oct 2008, p.102]

Equal parts fierce and sprightly. Excellent. [Jan 2003, p.93]

She breathes the vocals as if she were drifting in and out of death's door. [May 2003, p.95]

Old skool studio wizardry abounds. [Mar 2004, p.107]

Richman gets more reflective with age. [Aug 2004, p.86]

Exuberant and undeniable... if you don't own a Luna album, start here. [Aug 2002, p.112]

Paul Simon still has it.

Finds [Wolf] firmly ensconced within a four-piece-band format, but still coming up with the lyrical goods on a regular basis. [Dec 2005, p.102]

Despite two years spent on its dense construction, Music Complete rarely feels stilted, though it could use a stricter edit.... Yet the compensatory highs go beyond expectations. [Oct 2015, p.89]

He and his band sound focused and spry over eight beautifully arranged songs produced by Jackson and Pat Dillett. [Feb 2019, p.90]

An intriguing LP that balances inner existential turmoil with external grace. [Mar 2014, p.96]