A pleasingly melodious onrush from which a complete absence of rhythmic funk fails to detract. [May 2009, p.108]

Long gone from Creation is the balancing act between country roots and pop ambition of their earlier albums, leaving a dense, darkly alluring pop where, if you listen closely, you might just hear a kitchen sink or two rattling in the background. [Jul 2014, p.93]

It takes several listens to mentally sync wit its wonky, lurching rhythms. [Jan 2020, p.91]

Those who thought White Ladder would stand as Gray's crowning achievement may now have to think again. [Oct 2005, p.104]

Anyone who blanched at Herrema's strychnine sandpaper vocals won't be seduced by this set, however, and Hagerty only rarely scale the truly sublime heights of harmololdic skronk within his reach. [Jul 2017, p.90]

[A] consistently crafted and stimulating set. [Jun 2005, p.100]

Often beautiful, though as the protagonist of a song fragment say, he could stand to Let Go A Little too. [Jun 2013, p.95]

A Wonderful Beast occasionally revisits that street-walkin' vibe (When The Weekend Comes Around), but otherwise rises above genre to present this foghorn-voiced alt icon as quality songsmith, amid unprecedentedly high-spec playing and arrangements. [Nov 2018, p.94]

While Khruangbin's own cover of Kool & The Gang's Summer Madness is a technical knock-out, the two-punch combination of Maxwell Udoh's inaptly titled Nigerian disco landmark I Like It (Don't Stop) and David Marez's florid Ensename is distinctly below the belt. [Jan 2021, p.100]

Sweet and to the point. [Mar 2012, p.97]

An album as confrontational and consistent as Public Enemy's Apocalypse '91. [Feb 2002, p.93]

Ecstasy is definitely a Lou Reed record for Lou Reed fans. If you're a happy regular shopper at Lou's Boutique, this one'll fit nicely on the shelf alongside all the others.

A slick, clever and diverse set of populist dance and digi-rock songs. [Nov 2002, p.110]

A decent return, Alice mostly impresses despite the limiting permutations of their angst. [Nov 2009, p.94]

Delightfully chewy collaboration. [Feb 2016, p.90]

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]

Both spectacularly riotous and deliciously bittersweet. [Nov 2005, p.112]

ACR Loco lives up to its title. [Nov 2020, p.83]

Dynamic, packed with vim and hooks. [Jul 2012, p.83]

An enjoyable, if surprisingly safe, collection of roots rock. [Jul 2005, p.102]

Two Gallants make good on their promise with this third LP. [Oct 2007, p.94]

Most [tracks] are brilliant. [Apr 2007, p.97]

The acoustic neo-folk ditties that made his name are deployed in the form of 'Faithfully Remain' and 'Skin Thin,' but the heavy side of Harper makes for a welcome detour. [Jun 2009, p.102]

The one constant is their ability to chill the nape hairs, which ultimately is all that matters. [Apr 2008]

With producer Owen Morris at the controls, Which Bitch? always promised to be a riotous affair. [Mar 2009, p.107]

This set stays faithful to Lennon's melodies - like meeting old friends in unexpected but comfy clothes. [Dec. 2011 p. 99]

Their stylish debut knows a bit about content, too, bolting together [the album's] synthetic surfaces with Vorsprung Durch Technik efficiency, yet unashamed of the messy human heart beneath the shine. [Jul 2012, p.85]

Charmingly eccentric...but spiky too. [Jun 2012, p.92]