Musically, it's the richest record of Pulp's career.... We Love Life isn't perfect, but it is vital. [Nov 2001, p.96]

While such songs can be taken on a simple level as a promise between two lovers, like so much great soul music, tghere's a sense that Black Pumas, responding to the current mood of division and fear, are providing a what-the-world-needs-now- is-love message. [Jul 2019, p.90]

With its beautifully balances smorgasbord of UK garage, drum 'n 'bass, this is the album the person on the night bus in records by Burial would really be digging. [Jun 2013, p.89]

In all, a very promising debut. [Nov 2020, p.90]

Depending what side you take in the Heartbreaker v. Gold debate, you'll like some tracks more than others. [Oct 2002, p.92]

Assembling musicians from the electronica, folk and jazz spheres to frame her disquisitions, she has fashioned a disquieting, gripping artefact. [Aug 2024, p.84]

While they haven't suddenly become a different proposition, they are exploring structure and metre. [Dec 2016, p.88]

One to file alongside fan favourites Aether (2001) and Open (2013): records that initially appear starkly minimalist, but gradually reveal boundless, beautiful depths. [Dec 2024, p.85]

A record that makes the tortured beauty of Tilt appear like a mildly resigned shrug. [Jun 2006, p.102]

A saucer-eyed treat. [Apr 2022, p.84]

Diverse yet cohesive. [Jan 2016, p.96]

The record comes on like a sweaty, amphetamine-fuelled rehearsal room bash that went extraordinarily well. [Oct 2006, p.102]

Almost impossible to replicate in the studio, this is the level of energy and conviction which drives the album as newly buoyant Thompson discovers his second wind. Scintillating. [Sep 2010, p.93]

[Jackie] is another near-masterpiece. [Apr 2017, p.93]

Dan's Boogie remains fascinatingly obscure in places, but these songs are full of buried gold. [May 2025, p.84]

Think more of pastoral My Morning Jacket or Irish superstar-in-waiting James Vincent McMorrow and their keening, introspective-yet-expansive songs. [Mar 2013, p.96]

As a whole it lacks the unity of mood the characterised White Ladder... but there is much to love. [Dec 2002, p.106]

A dizzying series of minimalist Afro-psych mantras, Ay Ay Ay interlaces eccentric pounding beats, multitrack boom-tsch hiccups, and nervy fragmented vocals, building a groove that crackles with the rhythmic perversity of Arthur Russell's strangest sound experiments but drives on like a reborn TV On The Radio who've learnt to lose it down the disco. [Jan 10, p. 90]

While containing only new songs, feels like a greatest hits and as such is a perfect entry point for Giant Sand neophytes. [Jun 2015, p.90]

[Supermigration] fastens pillow-soft beats to steadfast bass lines in a variant of the motorik rhythm. [Jun 2013, p.89]

There's an impressive sense of pop classicism, but these songs are even more melodically insistent, occassionally verging on show-tune mellifluousness. [Apr 2010, p.105]

Smoke Fairies still possess great harmonies and sweet melodies, but they now come steel clad. [Jun 2012, p.92]

Its claustrophobia is total, unique, spellbinding. [Mar 2005, p.106]

An exquisite, meditative experience. [Nov 2017, p.108]

In their hands, [a cover of Nina Simone's Assignment Song is] a hypnotic wonderwall of sound. [Dec 2016, p.89]

The best Gang Of Four tribute album... ever. [Nov 2005, p.96]

Even though Marathon is rife with such oblique, ominous trails (Safety offers "Compleete us/King snake ringed with rust"), it still feels like a personal and revealing testimonial. [Apr 2026, p.93]

The album follows a North American folk linage from Jean Ritchie and Hedy West through to the present, via the chugging, churning electronic (folk) rock of The Velvet Underground, all the time infused with a joyous communal warmth. [Nov 2012, p.85]