Joan Shelley has a trick, at least, of making time disappear, her stately clear voice a rock at which the world flings itself in vain. [Jun 2017, p.86]

You're left with dual perspectives that aren't quite duets, anthems of vague disquiet, and an utterly satisfying sense of an artist following his own directs and nobody else's. [Apr 2015, p.95]

Cooder magnificent way with bottleneck on steel is often in evidence, while his son Joachim's percussion-rich soundscapes with loped and sampled elements help contemporise his dad's inherently rootsy sound. [Jun 2018, p.90]

Vivid, touch-sensitive responses to a world unravelling. [Nov 2022, p.90]

Nothing is off limits, the entire artistic palette is there to be used. And Diawara exploits that uniqueness with aplomb. [Jun 2018, p.92]

As with previous album "Songs III," this us an enchanting record. [Apr 2009, p.109]

Williams' forward-pushing, inter-generational sound - 70s fusion-era grooves mingle with modern club motifs - is fully formed on this second full solo outing. [Aug 2020, p.91]

Peace & Love continues this new mature streak with her most musically stripped down but lyrically most strident and complex collection yet. [Feb 2010, p. 102]

The overall vibe is: It's a time for extremes, for ear damage, and KJ--ever exemplary in reactivation--deliver 'em in spades. [May 2012, p.83]

It's compulsive listening. [Jun 2013, p.92]

If we force ourselves inside American Head, we find it full of intimate details that eschew social distancing. Breathe it in. [Sep 2020, p.86]

It's Plain's elusive ruminations and off-balance poetics that resonate in ever more artful, affecting ways. [Feb 2023, p.88]

An intermittently discomfiting record, tinged with sadness and beautifully composed. [Oct 2021, p.97]

What follows is like an eccentric, audacious musical collage that somehow hangs together. [Sep 2018, p.93]

Whether this is post rock, space rock or ad hoc it's hard to say, but who needs taxonomy when music feels this good? [Jan 2012, p.97]

The sixth full-length is a more modest affair, but also one of their finest. [Nov 2021, p.88]

Skinner and band navigate uncharted waters with sass and skill. [Dec 2025, p.82]

The Art Of Forgetting swings between joy and darkness with a boldness and coherence that is a marvel. [May 2023, p.84]

Hard to avoid thinking of Neil Young and Crazy Horse at the peak of their '70s powers. [Feb 2005, p.95]

Frenetic take on Radiohead's Street Spirit aside, the tightly arranged songs here are pleasingly Queen, AC/DC, Lizzy and Leppard-aware. [Sep 2012, p.86]

Guitars, sounding like synths, soar into the stratosphere, and intense crescendos linger over delicate, breathy passages. [Aug 2005, p.94]

With barbed lyrics and messy, thrumming guitars a Honeyblood speciality, things never get overly pretty on thes 11 tales of "horror, lust and laughs," while new Honeyblood drummer Cat Myers, successor to Shona McVicar, has bedded-in nicely. [Dec 2016, p.90]

There's much more depth to the sequel. [Oct 2012, p.91]

An Earth reborn, then. [Oct 2014, p.90]

A fittingly weighty document of their emotional heft. [Nov 2015, p.105]

Stands as both love letter and elegy and encompasses the deeply held emotions of both. [Aug 2023, p.86]

Yielded their finest collection to date. [May 2026, p.87]

It's a beautifully recorded and unmistakably classy outing that resonates deeply. [Feb 2018, p.95]