There is an inflammatory urgency here that reminds you of why Kurt Cobain considered Black an almost saintly figure. [Feb. 2001, p.88]

As fine as anything they’ve done, making a virtue of their shoestring gear and lo-fi recording tech to create minimal space-rock morsels focused on interior melancholy. Their melodies are sluggish, warm and desolate, their arrangements spare but affecting. [Jan 2025, p.90]

One of the most vital and imaginative records that [Coldcut has] ever made. [Jan 2006, p.120]

Kykeon is an album of simple instrumental guitar rites that, through repetition, drone and variations of melodic line achieve a particular kind of ecstatic cyclic euphoria. [Feb 2015, p.88]

An enjoyable if just occasionally patchy miscellany. [Feb 2018, p.90]

Further confirmation, then, that this stalwart of the rave generation, with a little help from his friends, still has plenty of fire left in his belly. [May 2020. p.89]

He's embraced a lush, harmony-drenched sound akin to late-period Fleetwood Mac or even the outer reaches of yacht rock. Yet, it's underpinned by biting, literate lyrics and mostly crestfallen characters. [Apr 2022, p.83]

It's clear Maal is still boxing clever. [Jul 2009]

They know their limits, and while they are prepared to test them, gently, Marauder isn't in the market for revelation. With songs this subtle and steely, though, reinforcement is good enough. [Sep 2018, p.87]

Seemingly ramshackle songs with deceptively shrewd arrangements, like the woozy, Beta Band-ish Paper. [Aug 2018, p.96]

The follow-up to 2020's When We Stay Alive continues that LP's fragile introspection. [Jul 2022, p.97]

It's that innate ability with a tune which separates Miike Snow from common or garden pop varieties. [Apr 2012, p.91]

A multifaceted--yet cohesive--creation that burnishes anew the golden age of space exploration. [Mar 2014, p.93]

Their unique pop panache saves the proceedings from simple retread. [May 2006, p.102]

Blurry Blue Mountain is as idiosyncratic and left-handed as ever, pregnant with moments of mercurial magic. [Dec 2010, p.104]

Only a dearth of melodic variations disappoints. [Sep 2014, p.93]

The benchmark for 2008's best electronic record has been set. [July 2008, p.102]

An album hitting some dead ends, as other avenues open up. [Jan 2020, p.88]

Though Blue Water is sunk by its stilted piano arpeggios, Lady, the record's other piano ballad, has real substance. [Nov 2014, p.100]

Can't deny his range (hip-hop, disco, acoustic picking) or songwriting, but voice and lyrics lack depth. [May 2018, p.98]

Showcases [singer Yukimi Nagano's] full emotional range. ... Six albums in, now, as ever, Little Dragon deserve far more attention. [May 2020, p.94]

Creating a feel that blissfully reminiscent of Bruce Langhorne's instrumental score for Peter Fonda's 1971 western, The Hired Hand. [Aug 2020, p.89]

In their hands, [a cover of Nina Simone's Assignment Song is] a hypnotic wonderwall of sound. [Dec 2016, p.89]

As the Crow Flies feels like a more personal work. Both a soundtrack to dreamlike childhood summers and an imagined government guide to the cycles of the seasons, complete with liner notes by historian and folklorist Ronald Hutton. [Sep 2011, p.101]

[The album] is most notable for two typically saturnine contributions from unlikely electro diva John Grant. [Jun 2014, p.98]

Return To The Noon can seem too dense a construct to penetrate. [Dec 2015, p.88]

Mostly, it feels like a marriage of Weezer and Superchunk, amid all-pervasive fuzz-pedal abuse. [Feb 2019, p.88]

Imagine Deerhoof without the jazzcore twist'n'turn or Stereolab with extra no-wave muscle and groove. [Jan 2006, p.126]