At risk of self-indulgence, but arrangements reward patient listening. [Apr 2019, p.96]

Brutally honest lyrically and deliciously more-ish in its rhythmic, electronic intensity. [Apr 2020, p.94]

Bleak but often gripping stuff. [Oct 2021, p.97]

With its silvery guitar and tentative vision of collective power, the title track also offers a means of escape. It frames an album that, in its own determined way, boldly meets the moment. [Jun 2025, p.83]

Completists will appreciate the three-disc focus on the One To One charity concert from August 30, 1972: one disc apiece for the afternoon and evening sets and a ‘hybrid’ selection of the best of both. But intimate ‘home’ recordings, in fact taped in hotel rooms, are more tantalising. [Dec 2025, p.67]

This is an album restless in its search for the new, the sound of White's reinvention in progress, scorching the Earth in anticipation of what might follow. If it misfires on occasion, it's certainly never dull. And if it never quite reaches its destination, it's still quite a ride. [Apr 2018, p.84]

Although his philosophical ponderings may not be that profound, his seize-the-day positivism and innate command of orchestral tension more than compensate. [Feb 2020, p.89]

Home is as challenging as it is comforting. [Mar 2021, p.85]

Their first album in seven years is a guns-blazing reinforcement of classic tropes, powered by young 'un Daxx. [May 2016, p.88]

Jones actually one-ups the Ventures with a frenetic version of White Christmas you can do the swim to. [Jan 2016, p.88]

Blow by blow, it all adds up to Depeche Mode's best album in years. [Apr 2017, p.95]

Challenging and sometimes extraordinarily beautiful. [Mar 2002, p.108]

The best of The Trouble With Being Myself finds Gray grinning. [Jun 2003, p.98]

Edgy, ear-splitting, bonkers, bizarre and, in parts, astounding. [Mar 2004, p.104]

A collision of Dylanesque surrealism and Bert Janschian finger-picking. [Nov 2004, p.114]

Sure, Spend The Night's pile-up of head-nod riffs and fist-pumping chants gets a little repetitive, but the groove suits The Donnas so well, you can forgive them. [May 2003, p.106]

To dismiss Heroes to Zeroes as a mere exercise in rock homage underestimates The Beta Band's charm. [Apr 2004, p.102]

Their peppy, sensual synth-pop has merit. [Oct 2012, p.95]

25 25's monomaniacal quest for the ultimate groove occasionally leaves the listener behind. [Sep 2016, p.96]

The gift of such unadorned recordings--no attempt to conceal the hoarseness in closer Sky Blue Sky, for instance--is the proximity to the singer and his songs. [Aug 2017, p.93]

Audience delight is palpable. [Aug 2019, p.98]

A cathartic wrestle with identity, Deliverance will sit well with fans of the original Some Bizarre roster. [Sep 2023, p.91]

Antidotes feels like riding a tea-tray down an icy mountainside. [Apr 2008, p.106]

Their second album is a bittersweet indie-punk chaser. [Jun 2015, p.96]

Don't expect a companion to the "Life On Earth" soundtrack though, even the ballads here are highly strung, some made otherworldly by drones, controlled feedback and mallet percussion, other stung by Meiburg's vocals, gear-shifted from choirboy puriety to anguish. [Mar 2010, p.98]

The music's one-dimensional emotional range is the Achilles heels of an otherwise gracefully dextrous affair. [Feb 2013, p.90]

[Arto Lindsay's] languorous delivery and oblique lyrics feature on three songs--with balmy results on mooching, drum-machine-propelled opener Many Descriptions and languid, art-pop essay Classify, and in markedly meditate contrast to the ominous synthscape of Longest Escalator In The World. [Aug 2014, p.89]

It's their fourth album in six years, but quality hasn't wavered. [Oct 2015, p.94]