The result is a meditative set full pf surprises, and songs that haunt. [Aug 2018, p.90]

An incantatory history of the acoustic guitar, as instrument of devotion, dance and lament, at times The Borametz Tree also feels like a book of incantations, spells for the universal elixir of joy, conjured up by a master alchemist. [Jul 2019, p.93]

Part of a singular lineage of deceptively amiable and peculiarly British music that reaches back from Supergrass to Madness and Squeeze. [Nov 2002, p.102]

A little gem. [Jul 2015, p.89]

As on her debut, beats are minimal, bordering on lo-fi, allowing Bey space to voice in meditative jazzy runs whose no- messing eccentricity strongly recalls primetime Erykah Badu. [Jul 2024, p.94]

It's all pretty essential stuff.

Hiatt sounds throughout as if gargling a box of frogs in some eternal late-night New Orleans backroom. And it's glorious. [Aug 2014, p.90]

If Melody Nelson had been hit by a car driven by Arthur Vercocai rather than Serge Gainsbourg, this could have been the result. Jan 2025, p.91]

A wholly unsanitised vision, where screeching white noise guitars eclipse thundering beats in a reverb dungeon far from prissy "Health & Safety" regulation. [Apr 2022, p.80]

His supersonic flow frequently dazzles, yet he remains intelligible and intelligent throughout. [Mar 2006, p.106]

Dan Auerbach takes Finley further away from his church-and-porch roots with a brief to present the artist as a classic all-rounder and on 10 songs written by Auerbach, John Prince and Nick Lowe, he proves himself just that. [Jan 2018, p.89]

Overflowing with ideas. [Apr 2021, p.83]

If it is meant to be a Pink Floyd homage, then it's an entertaining and highly distinctive one. [Nov 2013, p.84]

This rolling membership opens the palette considerably. ... The songs that leave the biggest impression, however, are the raucous yet soulful bangers. [Mar 2020, p.89]

It's another late-life triumph. [Jun 2022, p.87]

Halfway through and it's breathtakingly apparent that David Bowie isn't so much back on the horse as riding bareback towards a cliff-edge. [Jan 2016, p.86]

[A] disarming, relatable debut. [Mar 2017, p.97]

Remind Me Tomorrow feels full to the brim, flooded to the top with experimental colour and texture, drones and drums and synthesizers. [Feb 2019, p.85]

Flawless.

Americana shows a man still writing to find out his place in the world. He's seen it all, he's seen through it all, but there's still open road ahead. There's no better adventure than that. [May 2017, p.86]

Potential is a ripe showcase of Hinton's gift for alchemising base source material from unknowns such as London's MC SdotStar and Jamaica's Naturaliss into truly transformative dance pop. [May 2016, p.90]

The only unsatisfactory element of The Ballad of Dood & Juanita is that it's too short. [Oct 2021, p.92]

"This is a song for anyone with a broken heart," Fink sings on 'Blue Skies' and the break-up album of the year is complete. [Sep 2009, p.98]

Chilled, down-home charms remind of Duckworth and early dc Basehead. [Oct 2021, p.99]

A further refinement of their liquid improv vibe, the Thrill Jockey debut finds the quintet sitting on a mountain looking at the sun, high on Popol Vuh and who knows what else. [Apr 2011, p.97]

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

Raskit junks its predecessor’s egregious schmaltz for marauding bass and spartan trap backings. They amplify a biting double-time flow his nearest rivals would readily trade jaws for, Dizzee slaying his competition on Focus and Wot U Gonna Do? and literally eating them for dinner on Space (“Can’t find enough time to dine on rappers / All these MCs are looking like tapas”). There’s depth, too.

Claustrophobic ambient, minimal techno and orchestral themes for waiting for the axe to fall. 100 per cent Laibach. [Sep 2017, p.96]