An album full of inspired electronic melody and pastoral reflection culminating in the heartsore title track. [Oct 2016, p.100]

An often winning fusion of power-pop, electronics and blue-eyed soul. [Nov 2017, p.103]

Warm and full of feeling, an LP as instinctively cosmic as it is epic. [Feb 2018, p.99]

Everything Is Recorded has its sublime moments, but despite a pervasive post-tricky hip-hop nocturnalism and some loopy-interlude glue sprinkled through, it's just too disparate to cohere into a compelling whole. [Mar 2018, p.92]

It all shines a light on Cash's enduring artistry. [May 2018, p.94]

Parish underscores his composing skills wit these uneasy instrumentals and tight-wound songs. [Jul 2018, p.98]

Elephants On Acid finds Cypress Hill not only recapturing the dynamism and urgency of their early-90s heyday, but also taking that energy somewhere completely new. [Nov 2018, p.84]

It doesn't equal their Back Stabbers/Ship Ahoy period but it comes close. [May 2019, p.90]

A challenging but far from inaccessible work. [Jan 2020, p.91]

Far Enough takes the most exhilarating form of resistance, much more than riot grrrl's DIY aesthetic, akin to a harder-rocking Sleater Kinney with a similarly wailing centrifugal force in singer/guitarist Jenny McKechnie. [Jun 2020, p.90]

A second album of devilishly delicate songs. [Sep 2020, p.82]

Posse-laden re-workings of deathless anthems Public Enemy Number Won and Fight The Power are suitably superfly; rehashing four tracks from 2017's Nothing IS Quick In The Desert less so. A welcome blast if righteous funky wisdom nonetheless. [Dec 2020, p.83]

A sturdy enough vehicle for Young's polemics, Crazy Horse are an even stronger conduit for the metaphysics of their union. ... But when you want it dark, no one does dark like Neil Young and Crazy Horse. [Jan 2022, p.80]

The albums most evoked are the mid'90s brace, Charade and Misère. The Monochrome Set remain unmistakeably themselves. [Apr 2022, p.82]

A multi-faceted and in turns amusing and affecting album. [Jun 2022, p.86]

Tempus is overwhelming serene. [Dec 2022, p.89]

New ground is not broken, but happily, neither are they. [Jan 2024, p.86]

Their talent for maximalism is evident on the jagged, urgent Cinnamon Temple and a wonderfully trippy inversion of Jefferson Airplane's White Rabbit. [Aug 2024, p.90]

What's most remarkable is just how like the old Dolls this new record sounds. [Aug 2006, p.92]

Junip's second album is enchanting enough to sell cluster bombs. [May 2013, p.88]

Passage surges, subsides and enthralls like a Gothic Sigur Ros. [Jun 2012, p.93]

Flea proves to be a nice rather than barnstorming trumpeter, allbeit a subtly ambitious sone: witness his Chet Bakerish take on Funkadelic's Maggot Brain. But ultimately, he respects the collectivist energies of the LA scene he's infiltrated. [May 2026, p.84]

Here are 13 reasons why we don't need another Pixies record. [Apr 2008, p.101]

Early contender for pop album of the year? Definitely. [Apr 2024, p.85]

It's one of those records where less is most definitely more. [Apr 2013, p.90]

This trio's brand of piano-fed luminescence is more traditionally coffee-table. That's no criticism, more acknowledgement of their smooth melodic nous. [Oct 2013, p.87]

Ward opens More Rain with the sound of a deluge outside before going on to ponder the vast gulf between the American Dream and its less glamorous reality, but the final glitterbeat stomp of I'm Going Higher he finishes with the sun on his face. [Apr 2016, p.94]

Inspired by Elena Ferrante's dense domestic dramas, wears its complexity lightly. [Nov 2021, p.94]