How To Live is more of a creative evolution than a total break from Cooper's previous music. [Sep 2019, p.88]

Carolina's use of a talk box a la Frampton stuck in this listener's craw, but elsewhere the urgency and uncensored filth of Slash's playing is a joy. [Jul 2012, p.82]

He has created a wooded lattice of crackling guitar and dusky electronica. [Jun 2012, p.87]

A beautiful, comforting lament. [Nov 2019, p.95]

It’s a non-stop cavalcade of chá-chá-chá (including flute worthy of Orquesta Aragón) and mambo that should bring any dancer out of their shell. [Sep 2024, p.92]

Almond has certainly never sounded better as a singer than on this, largely a collection of covers of often obscure source material. [Nov 2017, p.102]

It's a mellow, meditative and mid-paced work... TIB is still a strong record, which fans will grow to enjoy immensely. [Jul 2001, p.94]

Fab follow-up to 2009's Tomorrow Is Alright from the San Franciscan collective. [Sept. 2011, p. 95]

This is a terrific ride. [Apr 2005, p.88]

Kurt Vile's slacker star continues to rise on Bottle It In. [Nov 2018, p.89]

James Brooks conjures the motorik rhythm and magnificent vistas. [Oct 2014, p.96]

Witty, touching, adored by everyone from Bjork to to Jon Snow; the wait is over. [Oct 2011, p.100]

Highlights are many. [Jan 2017, p.100]

Sonically ambitious it may be, but it's consistently accessible. [Nov 2012, p.94]

Deep immersive dream landscapes of calm and uncertainty that seem to push at the boundaries of space and time. [Mar 2017, p.97]

A set of sad, beautiful, guileless, country-folk songs [Jan 2013, p.102]

A free-floating space jazz run at Joni & Mingus's Goodbye Pork Pie Hat is typical of his approachable fusion. [May 2020, p.96]

White Stuff once again feels like the work of avant-garde self-mythologisers inveigling themselves into the Stones' Nellcote basement. But the riffs, cutting a swathe through dense electronic meltdown, are the strongest they've engineered, together or apart, since 1997's Accelerator. and there's a neww, mature pathos to the likes of Suburban Junkie Lady. [Apr 2019, p.96]

Svelte, mostly acoustic collection is so refreshing. [May 2020, p.94]

The punk grooves of 'Laugh Track' or 'Seeing Hands' and the near-perfect Phnom Pehn pop of 'Mr. Orange' or "Monsoon Of Perfume' bookend a set that grows in strength with each play. [Feb 2008, p.110]

The Unfairground finds Ayers rejuvenated and stands comparison with his best work. [Oct 2007, p.98]

Elephant's songs of love and death are heart-wrenchingly sad, movingly performed and sung in a poignant, luminous voice betwixt pop and country folk-country. [Apr 2009, p.110]

There's so much going on that each sitting reveals new nuances and added twists of slender wonder. [Jul 2020, p.82]

The almost tangible sonic richness, like much here, redolent less of lyrical conservatoire pianism and more of a twitching avant-chamber orchestra co-conducted by Basil Kirchin and Harry Patch. [Apr 2014, p.95]

Two fine records without a duff track between them. [Oct 2009, p.98]

Cathartic, rich and true. [Jul 2017, p.88]

Hot Chip remain ruthlessly consistent and relentlessly reliable. [Jul 2019, p.86]

Dead Man's Bones turns out to be a decidedly beautiful thing. [Nov 2009, p.93]