Nothing remotely insipid here; rather anger as an energy and top tunes. [Dec 2021, p.84]

Another exquisite recording documenting the near-telepathic connection between guitarist Oren Ambarci, bassists Johan Berthling and drummer Andreas Werliin. [Oct 2025, p.86]

This is vaulting, widescreen soundscaping of the first water. [Oct 2017, p.92]

Idles are finding new directions home: the hallmark of a great band. [Dec 2021, p.85]

As musical hybrids go, it's a fascinating and highly addictive one. [May 2012, p.93]

Strange Lights Over Garth Mountain, Raymond's staggering second album, leaves no doubt that she is among the most vital, dynamic voices within the still-teeming solo guitar orbit. [Dec 2020, p.82]

Rarely can the lute have sounded quite as threatening as it does here. [Nov 2016, p.93]

It's the limpid slow tunes - Opal, Night Shade and more - that stand out. Only Storyville overstays its welcome, spinning off into a free-form scrabble, but the lovely Something More restores harmony. [Mar 2026, p.86]

The Londoner's high soul voice shines through on astral-themed second album. . [Dec 2018, p.94]

A record of jarring juxtapositions, a bunch of cool tunes that could[n't] care less about how they fit together. [Apr 2006, p.86]

Inside The Ships is one of their most entertaining yet confounding albums. [Oct 2011, p.101]

Crooked Tree is a bountiful harvest, fruit of more dedicated application. [May 2022, p.91]

All told: a mighty uplifting wheeze. [Feb 2018, p.97]

Endless Rooms presents a tightly-knit ensemble creatively, thrilling ablaze. [Jun 2022, p.90]

It's been worth the wait. [Oct 2010, p.103]

Disillusion and disappointment have become fuel for creation, not self-immolation; second-guessing has been replaced by first-hand emotion. ... For the first time in a while -- that The Strokes shouldn't be gearing up for goodbye. [May 2020, p.86]

A compelling consistency of mood makes Metal Illness easy to get lost in. [May 2017, p.94]

Decamping to Mexico with a gang of musician friends and collaborating in songwriting as well as performance has made for Conor Oberst's most colourful, upbeat record so far. [Jun 2009, p.100]

Seb Rochford's drumming gives songs such as Kouma an unavoidably non-traditional kick, and the guitars (primarily by the singer herself) have a crunch missing from her early recordings. [May 2013, p.85]

Young, smart, pissed-off, ultra-basic, but also competent and powerful, these youngsters fire off brisk, bubblegum tunes in proud thrall to Da Brudders, and, by extension, girl-groups of the '60s. [Dec 2009, p.96]

Generous handclaps and a beautifully thrumming guitar buoy The Loneliness & The Scream. Living In Coulour, meanwhile, is a statement of intent, chiming pianos and a reeling rhythm pushing things along, typifying an album made by a band happily at the peak of its powers. [mar 2010, p.90]

Tremendous fun throughout. [Sep 2017, p.87]

This intimate 2013 show at Los Angeles' storied Wiltern Theatre--beautifully shot for Blu-ray--is proof, revisiting tracks from throughout their catalogue, opening with a searing, gloriously sludgy grind through Incessant Mace. From there, they showcase their many facets. [Sep 2019, p.107]

Once again Tucker demonstrates his knack of creating simple, incantatory, almost folky vocal lines, which pivot around a few telling chord changes and lodge in the memory long after the music stops. [Sep 2019, p.91]

Her songs are beautifully, tentatively constructed, the arch quirkiness of her early albums now replaced by the lush writing of songs. [Nov 2020, p.88]

Flight b741 feels like the doozy Primal Scream aspired to circa Give Out But Don’t Give Up. Turns out you don’t have to fly to Memphis to shine. [Sep 2024, p.88]

A triumphant second solo chapter. [Oct 2015, p.98]

Lovely instrumental set. [Dec 2020, p.89]