The Kills sound and feel like no other band--nocturnal, wayout, untouchable. [Apr 2008, p.100]

On its own perhaps a little on the skinny side for a new Oneida full-length, but as an appetiser ffor the triptych's next instalment--due early next year--this'll work just fine for now. [Sep 2008, p.102]

A venomous, scabrous, often hilarious protest record, full of ramshackle blues, stinging garage-rock and the occasional brawny hardcore pelt. [Oct 2018, p.93]

Though lacking the infernal dynamics of 2009's Farm, there remains sufficient compensation to delight Dino devotees. [Oct 2012, p.88]

It's song-setting, rather than scene-stealing. [Dec 2014, p.86]

Their mellowest ever high. [Oct 2015, p.92]

Beginners is less rip-it-up statement than subtle realignment; less countrified and polished, more folky and sparse. [Jul 2020, p.80]

Resonant and bittersweet, dreamily electronic. [Jun 2019, p.96]

This, then, is A-grade rock'n'roll--profound, damaged, brimming with wondrous dreams. [Jun 2009, p.104]

Intriguing ninth album from Sam Prekop's Chicagoan pop exoticists. [July 2011, p. 103]

Brakes give the likeable impression of being a jokey jamming session at a party that got out of hand. [Aug 2005, p.98]

His arch whimsy is solidly underpinned by simpatico, full-band arrangements and his keen nose for an idiosyncratic tune. [Dec 2013, p.86]

A compelling, if sometimes unsettling, time capsule. [Apr 2013, p.106]

The other peak performance is Longest Day Of The Year Blues, a deceptively languid doo wop ballad where the delicate tools that are Slade, Young and drummer Olly Joyce continue to punch well above their weight. [Feb 2014, p.94]

Blood Moon seems like Craft's real start, and one of the most exquisite soul-searching odysseys of this or any year. [Jul 2016, p.93]

A poised and expansive record. [Aug 2019, p.90]

The future and past collide throughout. [Aug 2013, p.91]

Multi-Love's frequently tremendous follow-up. [May 2018, p.92]

Though his nervy, nasal singing style can occasionally grate, the songs are redeemed by his breathtaking lyrical precision and eye for detail. [Oct 2006, p.103]

Forever Turned Around tows the if-it-ain't broke line, a choice justified by nuggets such as My Life Alone and Before I Know It. [Oct 2019, p.89]

Blk Jks's own voicee is utterly compelling. [Oct 2009, p.107]

Finally, a grown-up album from the oldest kid at the party. [Apr 2015, p.92]

The guitarist has made the best and most honest of his outside raids, freshening his classicism with a hard stare at payback and mortality. [Oct 2015, p.91]

Double Life, a thoughtful country-blues, is actually deeply touching, and Night At Lake Unknown is a soft, sweet Hank Williams Lament. the rest can be broadly summerised as Eeyore on Quaaludes. [Jun 2014, p.94]

Brit rapper Rodney Smith takes a big step towards national treasure status on sobering fifth album. [Oct 2011, p.99]

By the album's close, however, his vulnerability risks tipping over into maudlin self-pity. [Sep 2010, p.103]

His fifth album finds him digging into the C-60 funk box, and sometimes misplacing his wonderful strangeness in the process. [May 2011, p.104]

There's a formlessness to the greater endeavour that ensures it's somehow less than its constituent parts. Still, the likes of subterranean Latin shuffle American Reference possess an invention and mystery that makes this an endlessly fascinating place to get lost. [Apr 2025, p.84]