The result is a tender and engaging listen. [Aug 2014, p.93]

A creepy yet danceable debut. [Nov 2016, p.96]

R.E.M. At The BBC is not definitive history, but as a corrective to the idea that the post-Monster years were just R.E.M.'s long sweep into elder statesmanhood, it presents a fine alternative one. [Dec 2018, p.101]

Musicians writing and singing about being in the seventies is a rare thing in the Peter Pan world of rock--but The Who do it exceptionally well. [Dec 2019, p.92]

No Further Ahead Than Today's 10 chromium-smooth synth-pop essays are so meticulously, lavishly and mellifluously constructed that listening to them is like being dosed up with dopamine. [Jan 2017, p.96]

Double Exposure feels like his best yet. [Nov 2013, p.85]

A record that sounds like absolutely no one else on the planet. [May 2007, p.102]

James Hunter may have a new band from New York but they swing like his old one, and it's mostly business as usual here, with Hunter's new batch of songs sounding just like the old songs he's influenced by. [Apr 2020, p.94]

This set is sharper and fatter [than its debut].

Tricolore feels like an imaginary soundtrack. [Jan 2014, p.103]

Asgeir's voice is the first thing that grabs you. [Feb 2014, p.91]

The sounds of surrounding life collaborating with art. [Jun 2017, p.86]

A far cry from the murky jazz-metal wig-outs of yore, TMV is a triumph of melody, smooth instrumentation and soul. [Oct 2022, p.82]

The fourth volume continues the quality but widens the focus to include Delta State, Abuja and the border with Benin. [Jun 2019, p.106]

It's an ideal January release, time enough for Antony's spacious, textured odyssey to sink in before those Album Of The Year polls come round again. [Feb 2009, p.104]

Antitheses abound--organic and electronic, modern and ancient, pastoral and urban. Combined, they create something extraordinary. [May 2016, p.91]

While there are shades of Berninger’s day band in the propulsive Nowhere Special, for the most part it’s a more laid-back affair in the stylistic vein of R.E.M.’s Automatic For The People, or a country-tinged The Blue Nile. [Jul 2025, p.86]

What Dylan gives us in these recordings is something of a sentimental memoir.

This parade of audacious flops is a powerful introduction to this great band's pleasures, should you need one. [Jul 2017, p.104]

Unstoppably ace. [May 2012, p.88]

Another of those Mac DeMarco LPS wherein a deliberately spare palette pays dividends. [oct 2025, p.90]

This parting gift from Philadelphia-based guitarist Jack Rose stands as a superlative statement of his love for pre-war American music. [Apr 2010, p.95]

Throughout, Dalt's sensuous vocals, which flip between Spanish and English, are buttressed by inventive use of Alex Lazaro's percussion in rhythms from Dalt's home continent. [Sep 2025, p.87]

Intergalactic longing underpins Banh Me, its closing synth solo reaching blindly, hopefully into the endlessness of Space, while Out In The Black finds his Captain Curt using his isolation amid the stars doe some powerful internal reckoning. [Oct 2025, p.84]

This exhaustive reissue includes his [Bob Stinson] final contributions, though the real gold comes in their studio sessions with Jim Dickinson. [Nov 2020, p.95]

It transcends gender and genre. [Apr 2003, p.98]

Unfashionable and intensely melodic. [June 2002, p.110]

How much of ...Jazz Age was completed before Bailey's death is unclear, but his final at is one of his greatest. [Jan 2026, p.84]