Dark humour and combustive noise are proven fine bedfellows, and Flat Worms will soon have you slam-dancing as the planet burns. [May 2020, p.86]

Highlight of an unfathomable whole: Hell. [Jul 2020, p.88]

It's hard to shake the sense that these songs ape Corgan's past but too often lack the spark of inspiration that fuelled his previous masterpieces. [Jan 2015, p.100]

Anthrax's energised take, though hardly original, remains forceful and persuasive with each member still delivering with the strength of 10 men. [Apr 2016, p.94]

Less niche cartoon-rave abroad, more classic-rock and baggy/disco. [Jun 2017, p.86]

With no appealing tunes or choruses to hang his hat on, Caufield's limp, blank vocals founder. [Jul 2012, p.88]

The best Waterboys record since 1988's Fisherman's Blues. [Feb 2015, p.88]

Ringgo Ancheta continues on a liquid ambient-funk, gliding across a set of between album one-offs and remixes. [Aug 2019, p.98]

When they strip down everything down for the closing pair Fear and the onomatopoeic Organ Blues, the nape hairs rise even higher. [Mar 2011, p.100]

A chequered beast swiveling between ill-fitting newe adventures in growling rock electronica and hazy, '80s-throwback dram pop. It's somewhere between that Safe Place seem happiest, Eternal Recurrence, Jump Jet and End Game revisiting hazy, propulsive Ride territory of old--complete with the odd crap lyric--but the laidback, Syd Barrett-like Dial Up and arrhythmic, big-sounding In This Room show they still have genuine class. [Sep 2019, p.86]

It's not a groundbreaking record, largely because Tricky himself broke most of the ground here 13 years ago. [Aug 2008, p.103]

The sudden shifts between smooth/jarring and soft/hard make for an uncomfortable but compelling ride. [Mar 2008, p.113]

Largely insubstantial. [Aug 2017, p.97]

It's music for dreaming, the keyboard equivalent to shoegaze, reinforced by its song titles and vocals mostly mixed beneath the waves to gorgeously woozy effect. [Sept. 2011, p. 97]

For a band feeling they had painted themselves into a corner, this is them sodding the consequences and stomping their way out. [Dec 2010, p.96]

It doesn't all work. ... But the doo wop-in-space Hope Hell High, the football chant-as-polemic punk rock of Motherfuckers Got To Go and the widescreen desert balladry of Love Is A Mind Control prove the Deap Vally girls should experiment like this more often. [Apr 2020, p.91]

The only drawback is that 16 tracks and 55 minutes feel too long for a set of minimalist adventures. [Jun 2015, p.91]

[The Ridge] finds the Montrealer's signature esoteric bow-work allied to song structures that err, at least vaguely, toward the orthodox. [Apr 2016, p.93]

Overall these are bold ideas rather than great songs. [Aug 2016, p.91]

Their fourth album largely abandons any subtlety in favour of a scattergun art racket. [May 2016, p.91]

A very fine, if long-gestated, debut. [May 2020, p.93]

Play sees Nashville superstar Paisley jam with an array of equally adroit pickers. [Dec 2008, p.111]

They have emerged with identity still intact, marrying melodic '60s songwriting to Doorsian melodrama and garage rock mentality. [sEP 2007, P.110]

Their music is an improbably addictive miasma of chopped-up spoken-word fragments and spectral electronica. [May 2011, p.110]

Whikle the quintet can comfortably do sincere and introverted on tracks like A Thing Like This and Proud/Ashamed, their speciality indisputably lies in lo-fi revelry, as showcased in Friend Crush. [Jul 2012, p.88]

If you can stick with its synthetic marionette oompah band designs, become immersed in its whirlwind momentum and flint-eyed wit, the chances are you'll fall in love with the album's deep miined reservoirs of charm and sheer eagerness to impress. [Sep 2004, p.90]

On Everyone Is Here, you'll find some of the most haunting music to bear the Finn imprint. [Sep 2004, p.95]

By the end, you are left wanting more extreme flourishes. [May 2011, p.114]