As with everything Morrissey does, ROTT's resonance will elude those not hitherto fascinated by its master's voice. A shame, for in terms of pure musicality, ROTT is possibly his most ecumenical solo album, his most welcoming and loveable. [Apr 2006, p.89]

The album's seven-minute epics, Done and Tomorrow, chase their melodies to powerfully dramatic heights, pocket symphonies that stir and haunt with graceful, emotive crescendos that beg lighters waved aloft. [Feb 2010, p. 104]

The overall effect is affecting and exhausting, the listener feeling queasy and spent. [Nov 2017, p.96]

She now finds plenty to lampoon in 2011 on this droll, provocative comeback. [Apr 2011, p.105]

The material is, if anything, stronger than its predecessor and at times exquisitely beautiful. [Aug 2015, p.93]

The results may finally help them to escape the label of a light-hearted Fall with singer Eddie E. Smith. [Jun 2009, p.96]

Emiliana is blessed in her musical collaborator Dan Carey, with whom she calibrates an acoustic-led chamber trip-hop with plenty of room for her voice to breathe. [Nov 2008, p.111]

The Ohio duo's mastery of the unmathematical Hill Country style oozes here from every groove. [Jun 2021, p.87]

The winnowing, soul-pop sheen of the hit-yielding Soul Mining and Infected is long gone, replaced by an overall grungey, corrosive edge which indicates that Johnson bought up every last piece of analogue gear in town.

The bluegrass scene is now offically in touch with its feminine side. [Sep 2001, p.96]

Harper offers nice lines in homages to Marley, Basement Tapes Dylan, and funky James Brown. [Apr 2003, p.106]

Sounding like lost transmissions from classic '70s AM radio, it's Stringfellow's best yet. [Dec 2004, p.116]

They may have just failed to make a Great Rock Album--though it has many moments of greatness--but they have unquestionably become a Great Rock Band. [Album of the Month, Nov 2002, p.90]

Delicate without being twee. [Jan 2004, p.98]

Their groovy, meditative parlaying consistently elevates Live! Beyond the realm of optional for-diehards-only purchase. [Feb 2001, p.94]

This is a raging leviathan of a set, each track a powerful, swaggering anthem. [May 2002, p.97]

The Night Has a Thousand Screams dresses the oily synth ripples and murky bass lines of Hill's previous Umberto releases From The Grave... and Prophecy Of The Black Widow with glistening descant textures and rich analogue pulses, bringing a new shimmering elegance and profound foreboding to both his sound and, in the great tradition, the base source material. [Jan 2013, p.98]

It rates amongst the best three or four post-millennial psychedelic rock records. [Jan 2015, p.95]

Jones sounds like he's in his element. [Nov 2015, p.94]

Jade Bird's compelling voice is the deliberately uncontested focus of her no nonsense debut. [May 2019, p. 93]

On this debut album, the plaintive dizziness of Peter Ericson Stakee's vocals is offset by crashing guitars and wind-swept epic aesthetics that recall The Verve's early post-shoegazing incarnation, then City Walls comes on like a socially maladjusted Kasabian. [Feb 2010, p. 104]

This debut stands apart, not because it hails from St. Petersburg but for its speedy and electronically iced take on shoegaze. [Mar 2015, p.100]

Despite including some familiarly-styled acoustic reflections, 101 is very different to 2007's New York-influenced Keren Ann. [May 2011, p.104]

Joji draws dark arterial blood from backwoods bedrock, mining a country mile adjacent to My Morning Jacket's. [Jan 2005, p.105]

An aptly schizophrenic alternative history. [May 2005, p.114]

An agreeably bittersweet album. [Mar 2005, p.101]

Sometimes it's a bit repetitive or her voice goes trebly, but then you get What's Not Mine's Bjork-style weirdness. [May 2016, p.92]

Day After Tomorrow finds her in fine form, the famous falsetto is an octave or two down but the conviction that she brings to the songs is as strong as ever. [Oct 2008, p.106]