It's a compliment that guest spots by simpatico icons Iggy Pop and Kool Keith are by no means the best things here. [Dec 2019, p.86]

To Find Me Gone won't win any awards for wheel reinvention, but it's no sterile exercise in genre classicism. [Jul 2006, p.101]

Retour Au Champs De Mars oscillates malevolently with throaty, Death Star bass synths; like much of Iris, it uses a covert approach to win you over. [Feb 2017, p.95]

A dreamy, immersive mood piece that is as personal as it is instantly accessible. [Nov 2014, p.93]

Tropicália, Third to Six Soft Machine, Santana, Dungen, Alice Coltrane and Kamasi Washington seem to be in there. The Nick van Bakel-led, Melbourne-based art-popsters subsume all of this and more into the whole; a seamless coagulation. [Jan 2025, p.85]

Swindle wears his perfectionism lightly: satisfying tastebuds while leaving listeners hungry for more. [Mar 2019, p.98]

When Crisci does expansive, with the six-minute Ode To The Pleiades, the tremor is sizeable, its rattlesnake beats sinking into jazz piano riffs and iridescent synth pads, [Apr 2017, p.97]

His offbeat personality and refusal to pound the toad most traveled mark out this wildly talented bearded savant as a potential game-changer. [Dec 2013, p.89]

Lynn still sounds full of the life-force; more engaged and effervescent than many stars half her age. [Apr 2016, p.88]

Brevity obviously suits them as the results are both evocative and sublime. [May 2008, p.111]

Fans of dramatic Diamond are well taken care of here. But the real masterpieces are the opening and closing tracks. [June 2008, p.104]

Certainly, for anyone dosed up on post-Sisters black-attired rockisms, these Alabamans are a pulse-racing godsend. [Jan. 2008, p.110]

The band make each piece their own on this, their most satisfying set for years. [Dec 2008, p.102]

This excellently curated three-disc set uncovers a selection of previously unreleased outtakes. [Oct 2022, p.102]

McLaughlin's inner creative fire is till burning brightly on Liberation Time. [Sep 2021, p.78]

Stalking drumbeats collide with lush chords and Joel Cadbury's smoky vocals for an emotionally fragile record. [May 2004, p.104]

William Bell has forgotten nothing, it seems, least of all how to make wonderful, eternal soul music. [Aug 2016, p.88]

His score for this Murakami adaptation is just as striking, referencing Vaughan Williams and Shostakovich in a manner similar to such 20th century Japanese magpie composers as Hayasaka and Hashimoto. [May 2011, p.112]

Treacherous lapses notwithstanding, there's enough vim and invention here to suggest that Foals may yet prove themselves champion thoroughbreds. [June 2010, p. 96]

No 11-minute epics this time, but there are two stand-outs: Neil Young-esque Cumberland Gap, and Airplane, as hypnotic and moving as anything on The Harrow & The Harvest. [Sep 2017, p.92]

Furling expands the sonic palette, bringing in piano, percussion, harp, vibraphone and more. The results bring new dimensions to her psychedelic folk. [Feb 2023, p.92]

Improved fidelity aside, the song remains the same. [Aug 2004, p.88]

Surely the sweetly sour bubblegum album of 2015. [Sep 2015, p.86]

The sense of isolation, longing and homesickness are palpable. But he's also wry and darkly funny, self-referential, and self-deprecating too. [Sep 2012, p.95]

He sublimates his playing to the whole throughout, his swerving tones and arching lines ducking and diving through cracks in the strings. [Jan 2019, p.88]

A record sensational only in the best ways. [Jun 2006, p.103]

By turns, raw, sophisticated and sublime. [Sep 2006, p.104]

It's absorbing stuff, even shorn of the images. [Aug 2023, p.87]