All but unchanged aesthetically at 64, this alt-rock icon's rockin' on. [Apr 2025, p.78]

Grinderman 2 finds the group continuing their musical voyage inot the id. [Oct. 2010, p. 91]

Like the band's best '80s output, Lilac6 is the work of a bona fide songsmith. [Nov 2001, p.108]

It is quizzical, troubled, socially concerned, compassionate, schizoid, retro-eclectic, strikingly modern, racially mixed--and even likes women. [Apr 2002, p.112]

It really is incredibly good, even if sometimes it's hard to feel you're hearing the real Jolie and not a character she's adopted. [Jun 2004, p.110]

These are songs to admire rather than lose oneself in. [Jan 2004, p.116]

Melds way-out weird with a pop welcome that sounds like no one else around right now. [May 2004, p.105]

Moments of simple, exultant joy are plentiful. [Jun 2004, p.102]

NuAmerykah is her boldest and best yet, brilliantly eccentric but repaying every indulgence. [May 2008, p.106]

The overall result is not the studious mess it could have been, but an adventurous, challenging and futuristic recording, albeit one that might cause a little aural indigestion. [Feb 2010, p. 93]

The main strength of this album is how the guitar playing, which is superb throughout, feels inextricably bound to the structure and shape of the melodies. [Jul 2016, p.95]

The Return could do with some editing as it's unwieldy 78 minutes risk losing the audience before its finest songs: the epic, autobiographical title track, and the redemptive, gospel-soaked closer Made Us better. But Too much of a good thing is nothing to hold a grudge over. [Oct 2019, p.89]

Songs to keep returning to with no hope of ever exhausting their meaning. [Apr 2020, p.84]

Shine[s] a light on forgotten corners of the influential '70s label's past. [Jun 2021, p.94]

Garvey's lyricism is elevated by the subtle complexity of the music, clarinets, choral voices and churchy keyboards whispering through the vents of these sons, causing a quiet stir. [Dec 2021, p.86]

Welshpool Frillies maintains the high standard GBV since he reunited them six years ago. [Sep 2023, p.82]

The delicious, Moroder breakbeat thump of Birth4000 and squealing garagey rave of Vocoder (Club Mix) have the swagger and heft to leave club soundsystems wobbling, but also need good headphones for home enjoyment. [Oct 2024, p.82]

Opener Anybody’s declaration of fresh love duly builds with electrifying presence. There follow bare-wire examinations of audience dependency (Lavender, Raspberries) and resurgent desire (In A Dream I’m A Painting), before Sick Of The Blues provides a heartburstingly triumphant ‘choose life’ finale. [Nov 2024, p.84]

An ambitious and unclassifiable album. [Feb 2018, p.88]

Swedish chanteuse returns with guns blazing. [March 2011, p. 96]

Blending machine rhythms and subterranean beats with ghostly atmospherics, world music chants and groaning analogue disquiet they create a rich, unnerving sound that feels both modern and ancient. [Mar 2011, p.114]

A record whose maker has poured his life into it. [Apr 2018, p.95]

Packed with songs that tug imperceptibly at the heartstrings, Odyssey runs the gamut from introspection and melancholy to hope and deep joy. It will take some beating. [Nov 2024, p.90]

He stomps or sways along in the nu Seattle folk/rockabilly grave-fun way displaying a sing-the-phonebook grace. [Jun 2012, p.93]

They've grown and blossomed without sacrificing an ounce of what made them exciting in the first place. [Feb 2018, p.93]

A shoegazing-inclined Zombies sums it up. [May 2022, p.92]

A beautiful, fragile, record that demands your full attention, then pays back dividends.

Josh's melodic intelligence and structural wit keeps things neat. [Apr 2009, p.110]