Throughout, the Brothers' riotous dustbowl carnival sounds and Ian's pointed deadpan make for a consistently entertaining cocktail. [Oct 2021, p.92]

There's something rather comforting about finding them wholly unchanged after four decades and nearly 10 million album sales. [Sep 2019, p.89]

This is Nelson's best album in over a decade, following flirtations with blues, reggae and jazz. [June 2010, p. 94]

Stripped back to vocals, drums and piano not a million miles from Nick Cave's Boatman's Call, of 10 tracks, not one's a duffer. [May 2013, p.87]

A lyrically strong album. [Jan 2022, p.82]

The only gripe is that at 38 minutes, Insignificance is too short. [Feb 2002, p.92]

Jungle skillfully replicate the sexy patinas of their varied influence. [Sep 2014, p.94]

Fans of Badu, Solange and Janelle must investigate. [Jan 2019, p.85]

This lavish 36-track celebration doesn't settle for just reheating the best bits, cheerily omitting anything from Kamasi Washington's jazz clarion call The Epic, while proffering 22 new tracks that flaunt its roster's strength in depth. [Jan 2019, p.105]

Rarely has a plunge into apocalyptic hell been such a hoot. [Aug 2023, p.82]

A diverse yet flawless disc. [Sep 2006, p.96]

With Memories Are Now, she understands exactly when to use the bridle and bit on these wild, wise songs. [Mar 2017, p.98]

It's a miracle that anyone can sustain such quality songwriting over such a prolific output. [Apr 2025, p.83]

A lush and trippy affair with shades of Edward Lear-like surrealism and John Winston Lennon amid strawberry Fields. [Mar 2008, p.103]

A vivid, pulsing rhyme banquet that's out-there, edgy and kaleidoscopic. [Mar 2014, p.96]

Let It Die's first six tracks find The Shaky Hands joyously rocking it up - like the less self-consciously arty Wilco, pre-Yankee Hotel Foxtrot - while the more reflective mood that settles over the album's second half is a wistful reverie rather than a spiritual malaise. [Feb 2010, p. 102]

His breathless falsetto remains a dealbreaker, but such vaulting ambition should appeal to fans of US forebears Deerhoof and domestic square pegs Wild Beasts. [Oct 2008, p.109]

It's artfully rumpled, but the ragged angry gasps that close the record confirm Bridgers' songwriting isn't the effortless dream it seems. [Jul 2020, p.78]

He's not strayed too far from his usual template: beautifully crafted yet unashamedly earthly songs which soar and contemplate at just the right moment. [Nov 2022, p.89]

It's a creative fecund, primeval power. [Jul 2009, p.100]

An unexpected treat, as he takes great liberties with some of the material. [Sep 2017, p.93]

The whole is deeply bittersweet - but also a joyous farewell from this most wonderfully acute of English pop ensembles. [Oct 2025, p.80]

Delicate yet resolute, Geist is a beautiful spin through the windmills of Lay's mind, unreal in the best ways. [Nov 2021, p.92]

A claustrophobic, mesmeric soundscape akin to My Bloody Valentine and Spacemen 3's early work. [Apr 2003, p.114]

Knockin' Boots shuttles between classic disco, '80s electro soul, Gallic House tropes and stripped-down future funk with significant aplomb. [Aug 2015, p.88]

On the surface, Beware The Fetish is like My Bloody Valentine or Metal Machine Music, as unbowed or compromised by trying to give the people what they want. Yet at its heart is a burning desire to make fantastic pop music. [Aug 2014, p.88]

Glass Boys' legacy will likely be the Fucked Up record fans praise for its songs, rather than the risk-taking. [Jul 2014, p.95]

One Step Behind shifts the goalposts, compromising a 32-minute title track and the eight-minute Heart And Soul, an elegant, soulful comedown in the mould of Music From Big Pink. [Nov 2019, p.94]