Beal's vocals shift from Screaming Jay Hawkins wails to the lo-fi R&B melancholy of Cody ChesnuTT, while his chattering snake times rhythms summon up the ghosts of Moondog and Sun Ra, taking things to another level entirely. [Jun 2012, p.83]

There is always the creamy centre of that angelic voice, making this a mightily impressive debut. [Oct 2015, p.93]

[A] sturdy, panoramic critique of modern rap mores. [Aug 2014, p.92]

Song-for-song Damage And Joy is the most rewarding Jesus And Mary Chain album since their prime. [Apr 2017, p.92]

That Lucky Old Sun is easily Brian Wilson's most consistently enjoyable, moving solo albums; indeed you have to go back to "Surf's Up" itrself to hear a Beach Boys long-player as good. [Spe 2008, p.99]

Ambitious, hypnotic but a little relentless. [Jan 2013, p.102]

[A] set of exhilarating if unrelenting Weezeresque thrash pop. [May 2014, p.96]

It's business as usual. [Mar 2005, p.106]

The instrumental smorgasbord can feel a little claustrophobic, as on the clattering All The Way Live, but overall The Go! Team's relentless party vibe emerges undiminished. [Feb 2018, p.96]

The Aislers don't always hit their mark, perhaps because the disparate interests at work also contribute to some unengaging instrumental, noise and nearly spoken word pieces. [Apr 2003, p.103]

A combination of fierce electro-clash, stabbing rock riffs, and the rudest raps on the planet. [Oct 2003, p.118]

The album's real trump card is its abiding sense of goggle-eyed imagination. [Nov 2002, p.98]

If this is to be Cash's last album, then what a magnificent way he has chosen to say goodbye. [Album of the Month, Dec 2002, p.100]

A superior folk-tinged brand of MOR. [Oct 2005, p.102]

Costello has again hauled material from diverse regions of his writing life into a strangely cohesive cornucopia. [Jul 2009, p.96]

Nothing unfamiliar, yet distinguished by granite totem-pole vocals and mesmerically ominous axe. [Sep 2011, p.97]

It's a shame that their modishness acts against them, but sometimes, playing all the right notes in the right order just isn't enough. [Nov 2011, p.92]

There's enough to pique interest for newbies. The rest of us will head on back to the master. [Sep 2011, p.99]

Barman was keep that Keep You Close had a warmer sound than the "very loud, in your face" approach of its predecessor... while we can just about give him the benefit if the doubt, it's not quite that straightforward. [Nov 2011, p.98]

A bustling, concise and sunny affair. [Apr 2012, p.88]

An album packed with thoughtful adventure and mischief. A true gem. [May 2012, p.83]

There's plenty of individual spin to set k&f apart and the tension never slacks. [Oct 2012, p.89]

Simon's songwriting ability is unquestionable, and the similarity with his father's voice is hard to ignore, but his quest to re-imagine Elliot Smith's XO too often gets in the way. [Apr 2013, p.86]

Rowe's gravelly baritone is as suited to the shimmering surf plucks of Downwind, or the percussive pummel of Horses as it is to his sombre ballads. [May 2013, p.96]

A sound that lies somewhere in between early Beach House and breezy, ambient techno. [Sep 2013, p.96]

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

The Machine Stops proves that Dave Brock's sonic adventures still have plenty to say, and inspired ways in which to say it. [Jul 2016, p.95]

The odd head-snapping moodswing, a la Nick Cave, can jar. [May 2017, p.98]