Good news for shoegaze-curious neophytes too afraid to dive headfirst into MBV's loveless, but very backward looking, too. [Jan 2012, p.98]

Thoughtful, slow-burning dream pop. [Apr 2014, p.98]

If this is about cities, it's cities glimpsed in poetic, fragmentary dreams. [Jul 2017, p.90]

Results vary, froma plodding, Kasbian-like 'Deeripper' to the charmingly labyrinthine 'Headdress,' which is so fresh it feels like the genuine article. [Jul 2009, p.96]

First new solo album for four years from the young jazz maverick.

Hood's vision for the band has always been cinematic--never more so than here, in fact--but by mid-album tracks such as "Get Downtown" and "After The Scene Dies," things are becoming sketchy.

[Nelson] moves effortlessly from pop country balladry to well-heated Western Swing. [Jul 2012, p.94]

OEH are a more intriguing venture when confident enough to aim for the universal. [Oct 2019, p.86]

Apart from the upbeat soul of Never Want To Be Kissed, featuring Stax veteran William bell on vocals, Set Sail stumbles and squints through its nine other tracks, although on Bumpin' they at least rouse themselves long enough to sound like Tony Joe White imitating Sly Stone. [Mar 2022, p.86]

An album that stalks the perpetual gloaming so wholeheartedly, you do rather wish for a ray of sunlight here and there. [Oct 2016, p.98]

Uneven but exceptionally inventive. [Sep 2005, p.92]

Right On! seesaws between spectral moments of introspection and bristling passages of electric activity. [Jan 2016, p.88]

[Her] supple vocal sounds are partly obscured here by loops and electronics or resonant layers of Eno'd guitars. [May 2021, p.88]

Sadly, there's a few too many tunes like (Girl We Got A) Good Thing--the sort of throwaway preppy drivel critics of Weezer think they sound like all the time--for this to sit alongside the band's classic work. [May 2016, p.90]

Although recognisably, and powerfully, the work of Explosions In The Sky this is now a band whose music undulates. [May 2016, p.92]

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

JRW's third has enough honky-tonk brio to merit comparison with Kings Of Leon. [Apr 2014, p.98]

There are enough off-kilter moments to stop complacency setting in. [Jul 2018, p.90]

Odd tracks recall Animal Collective, but these immersive 63 minutes mostly ripple with hallucinatory effect, overdubs virtually free of beats. [Sep 2017, p.92]

Wrangler's is a twitching, throbbing, mildly dystopian sound-world of vivid analogue synthesizer tones, overlaid with heavily processed vocals. [Jun 2014, p.96]

A Deeper Understanding is exhilarating in places, but perhaps inevitably, give n it's long and convoluted gestation, it can at times feel like it's trying too hard. [Sep 2017, p.90]

The folk comes juxtaposed with industrial creaks and eastern drones, the virtuosity tempered with scrabbling wildness. [Sep 2018, p.96]

Alias perhaps lacks a truly killer song, a lightning rod to draw newbies in. [Sep 2014, p.94]

There are certainly treasures here if you sift through Guv's prolific unburdening. [Dec 2019, p. 94]

Nas's fifteenth is a heap of comfort food for old-school rap fans. [Apr 2022, p.90]

His self-titled debut falls a little short, but Son Little has potential. [Dec 2015, p.89]

It's disappointing that there aren't one or two more inspiring moments, especially when there's a roughly equivalent number of duds. [Jan 2017, p.92]

Van sounds relaxed and perfectly at ease. [Feb 2018, p.93]