Consistently engaging. [Nov 2012, p.87]

He's employed iPhone apps, junk-shop keyboards, cassette recorders and other unlikely paraphernalia to illustrate the wider aural picture. [Jun 2013, p.86]

Given such a line-up and a high degree of cohesion not always apparent in similarly stellar offerings, good things should happen. And they do. [Sep 2013, p.90]

At it's best, II packs a winning, sun-scorched lethargy. [Jun 2017, p.88]

Years of sideman work have given Smith a certain world-weariness; that grit makes this newfound joy ring clear as a bell. [Aug 2017, p.93]

It's all imbued with such unhinged energy and genre-skipping abandon that Warmduscher collectively concoct some weird pop voodoo, perhaps best heard on the swampy bastard blues of the title track. [Jul 2018, p.96]

If there's a sense that the material has yet to coalesce to its strongest and most consistent point, there's much that bodes well for High Water II, due in 2019. [Sep 2018, p.86]

The 13 tracks of this marathon double-album offer surprising rewards. [Oct 2020, p.86]

An accomplished study in post-punk boom, synth whoosh and creepy-crawl vocals. [Mar 2022, p.90]

For every peak there's an occasional trough. [May 2022, p.88]

What was initially a singular vision varies intriguingly. ... although ultimately the pick of albums 19 and 20 could have offered something without any filler. [Mar 2023, p.92]

Mostly it's sparse, as a lonesome album should be. [Jan 2026, p.86]

Largely an album of blues covers that isn't terrible just, well, perfunctory. [Apr 2026, p.84]

It's not an ideal entry point into Amos;s unique world. [Nov 2011, p.98]

Sweet Apple rock it up in gonzo mid-'70s style, with lashings of glam and powerpop. [June 2010, p. 93]

Though the record perhaps lacks the one killer tune or irresistibly "come hither" song title that can really get you at it, the swooning Pure Heart, intermittently cinematic We Were One, neat instrumental segue Fata Morgana and sonically startling So Many Nights help flag a unique and fruitful cocktail of influences. [Jun 2016, p.90]

A dense, fervent, riffy drums and electric-guitar driven album. [Nov 2012, p.95]

While there's more than a little influence from early New Order here, one can also hear echoes of Suicide, PiL's Metal Box and the motorik reveries of Cluster. [Jul 2005, p.112]

A romp through Bootsy's former glories, subtly retooling them to sound comfortingly familiar yet not anachronistic. [May 2011, p.106]

Two distinct personalities: Death LP (dark and groovy) and the titular short film soundtrack (disjointed and upsetting). [Aug 2017, p.96]

Woman looks set to keep the leather-clad pair trucking for the foreseeable by bridging the propulsive beats of 2007's sweeping debut with the more baroque, borderline-cheesy prog aesthetic of 2011's Audio, Video, Disco. [Dec 2016, p.89]

Ultimately guided by voices, it peaks on cypher session S Bento MC5, an affectionate homage to A Tribe Called Quest's Scenario. [Jan 2017, p.99]

If lyrics about mushrooms, unicorns and frogs are your jam, Coyne & Co. of course have you covered. The Naked Slaves and Amazon strippers do feel tiredly exploitative. [Feb 2017, p.93]

The Messenger duly wipes the slate clean and bursts with the same efflorescent skills that made Johnny Marr a guitar hero for the generation which had supposedly repudiated such a concept. [Mar 2013, p.90]

Almost everything here sounds pre-designed for drone-shot driving sequences in a slow-burning indie film, but in a very good way. [Dec 2019, p.86]

The quartet's attempt ti create something like The Chemical Brothers' patchwork futurism, it is influenced by frontman Jack Steadman's global travels, but ends up sounding like a bunch of Gap Yah students discovering foreign climes fir the first time and leaning too hard on the console's Arcade Fire 2007 button. [Mar 2014, p.90]

A leaner, more radio-friendly effort. [Sep 2015, p.86]

[Aerosmith's] affection for and facility with the material in hand [is] as plain as the nose on Gerard Depardieu's face. [May 2004, p.106]