Girl Band play ugly noise with a charisma and energy to drag them from the no wave ghetto, to somewhere bigger. [Nov 2015, p.89]

Comic, sinister, suddenly moving, it feels like real-time psychological excavation, digging for truth. [May 2021, p.84]

To call it a mature album would be to take away some of the perennially youthful spirit of Mogwai, but it certainly achieves a crafted, discerning grace. However hellish it may have been, a baptism in The Bad Fire has clearly proved to be a renewing experience. [Feb 2025, p.86]

An astonishing landmark, and great record, wherein the Mod once again becomes The Modernist. [May 2010, p.94]

These self-penned songs feel so timelessly authentic they might have been dredged from the deep well of traditional British Isles song from which Roberts regularly sips. [Feb 2015, p.95]

Snoop is in surprisingly tender form. [Feb 2014, p.88]

The album's blend of '70s Euro-flick iciness, shag-pile funk and dark lyricism make for an intriguing and sophisticated treat. [May 2016, p.86]

Part polemic, part paean and featuring contributions from amongst others, Paul McCartney, Imogen Heap and Tina Grace, it makes for an arresting colection that's as valid musically as it is for any mesage it is sending. [Nov 2008, p.12]

Ambitious comeback. ... It works a treat. [Jun 2019, p.96]

Gazelle Twin masterfully keeps us in suspense, incorporating strongly evocative sonic components. Around track eight the tension subsides, yet this doesn't affect the overall consistency. [Feb 2024, p.86]

His solo debut is packed with syntax-mangling wordplay. [Apr 2015, p.95]

Topped off with lo-fi synths and Victor Truicard's taut riffology, PSY are fresh, fiery, top fun. [Mar 2011, p.101]

No wheels were reinvented in the making of this record, but it travels straight to the heart nevertheless. [Aug 2020, p.92]

Full of understated elegance, Ode reminds us that Mehldau's is an increasingly significant body of work. [May 2012, p.82]

A Wasteland Companion revels in the layers of experience overlaid on life, building up texture, building up meaning, building up songs. [May 2012, p.87]

An album of joyful, desperate and messy songs, as honest and delicious as any on Pavement's 1992 classic, Slanted And Enchanted. [Sep 2001, p.92]

Let It Be might be the runt of The Beatles litter but it's half of a very good album. ... The outtakes discs are very much works in progress, as The Beatles chat and work their way through new songs: an eavesdrop into their process. ... What comes through is how true The Beatles were to the idea of going back to their youthful inspirations. [Dec 2021, p.99]

An open, emotionally congruent record that never tries to be clever and yet rarely seems dull. [Apr 2004, p.99]

Heathen is a fine restatement of classic Bowie elements with contemporary twists. [July 2002, p.110]

A record of disarming directness. [Oct 2015, p.89]

A Grand… isn't as immediate and vivacious as its predecessor. But credit to Skinner for pushing things forward; he remians one of the most compelling voices in British pop culture. [May 2004, p.94]

After eight years, EWF are right back in the groove. [Oct 2013, p.98]

The brothers’ art for art’s sake sensibilities drive pleasingly obtuse yacht-rocker Sounds About Right and fractured prog-funk oddity Curfew In The Square, while I Might Have Been Wrong’s ace chorus feels like an ambush after its clammy, insomniac verse. [Nov 2024, p.91]

Pieces... delivers greater consistency. [Oct 2006, p.104]

It's both so clever and so very charming. [Nov 2006, p.114]

Grohl can still subvert his own formula: opener Caught In The Echo brilliantly synthesises Ian MacKaye with Paul McCartney, and the needling pulse of Window is superior Josh Homme-age. The wired Child Actor, meanwhile, reveals a conflicted man behind the persona. [Jun 2026, p.86]

Hearing this in its entirety 45 years on, it really is up there with Young's greats. [Oct 2023, p.97]

The result is as good as anything Cale's delivered in years. [Nov 2012, p.91]