Not an easy listen, but admirable. [Nov 2017, p.97]

A little more sonic danger may have roughed-up the pristine veneer that dampens the fun. [Dec 2021, p.89]

It's no double-set, however, its sprawl contained within 10 tracks and 42 minutes. [Dec 2017, p.91]

Production-wise it's the compressed, tidy sound du jour that flattens out dynamics; it would be interesting to hear them recorded on some funky old analogue gear, to add a bit more grit. [Dec 2018, p.92]

While there's a surprisingly low glam quotient, Fudge Sandwich finds odd harmonies between funk and anarcho-punk, plus more predictable psych. [Dec 2018, p.84]

While hats should be tipped for the sentiments expressed, with less urgency to make his point and more time spent on making it listenable the message might have stood a chance of reaching a few more ears. [Jan 2017, p.96]

Holland's singing identity still shifts disconcertingly. [Aug. 2011, p. 92]

Far from sounding like the future, however, Situation is valiantly old school in its belief that the best rap is cultural commentary, poetic and from the heart--the modern blues basically. [Nov 2007, p.108]

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]

It's the kind of inimitably throbbing slice of neo-psychedelic unease they've knocked out with biennial constancy since 1999's Internal Wrangler. [May 2008, p.109]

A true, if guilty pleasure. [june 2008, p.103]

Without Marshall, they're less overtly folk-based and on the stand-out Caroline, they're as rewarding as David Gray at his most up-tempo, while Madison Cunningham brings a feminine touch to Blood On The Page. [May 2025, p.87]

Refining rather than redefining. [Jun 2020, p.91]

Tastefully arranged, high-spec country-folk introspection. [Aug 2018, p.96]

There's nothing here to match their gonzo 2003 hit I Believe In A Thing Called Love.... But there's still laugh-out silliness. [Jul 2015, p.92]

In the end, it's surprisingly worth it for the few great, strange tracks.

A sprawling, instrumentally dazzling work which all but spurns pop songwriting. [Jan 2002, p.99]

Konoyo is subtly emotive, its soundscapes cool and tranquil then swallowed up by blossoms of cryptic drama. [Dec 2018, p.93]

Pissed Jeans might deal in uncompromising, near-unlistenable noise, but in a world gone increasingly crazy, their scourging hi-jinks make more and more sense. [Mar 2017, p.94]

Slightly frustratingly, similar changeability [as 2018's Lala Belu] prevails here. [May 2020, p.86]

Insanely ambitious, or just insane; you decide. [Apr 2016, p.90]

Hatfield eschews radical reinventions, but her peeling away of the more finessed layers surrounding Lynne's indestructible melodies/chord sequences works a treat on Can't Get It out Of My head, Strange Magic and Telephone Line. [Nov 2023, p.92]

McGuire's guitar and tape loop examination of his own psycho-dynamics. [Mar 2014, p.96]

Hearing Mahal mimic African Blues players is usually fun, but 'Zanzibar' is underwhelming. But when Ben Harper turns his guitar up, things get interesting. [Nov 2008, p.116]

Erick Sermon and Parrish Smith may not make as many dollars these days, but they still have a winning way with their slouching, filthy funk. [Feb 2009, p.109]

Cohen's sometimes overly mannered, Brett Anderson-echoing vocals won't be for everyone, but nevertheless this is a brave and absorbing statement. [Jun 2016, p.91]

Mostly it rocks. [May 2015, p.99]

As ever with Borrell, it's never less than weirdly, grippingly fascinating. [Sep 2013, p.90]