Black Cascade meshes razor-throated fundamentals with panoramic sweep, its four thunderous riff odysseys wreathed in soulful desolation. [May 2009, p.109]

For all of Startisha's eclecticism, Juwan's visions are coherent, his voice assured. [Aug 2020, p.88]

Costello has again hauled material from diverse regions of his writing life into a strangely cohesive cornucopia. [Jul 2009, p.96]

It's their talent for great hooks, that gets you in the end. [Aug 2009, p.99]

Meditative Time (You Got Me) sets the pace: a gently rambling rumination twinkling with congas, shakers and bird-like flutes. [Oct 2019, p.92]

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]

Presence is the best of the three [remasters].... The deluxe edition's bonus track, a soft, piano-led instrumental titled Pod, reiterates how dark and gnarly the rest is. [Sep 2015, p.98]

Thematically, Radical Romantics can be seen as a mellow follow-up to the angrier, gender-politics-driven Plunge. Instead, it celebrates self-exploration. [Apr 2023, p.88]

Punchy, seductive, surreal. [Jul 2014, p.92]

The sextet ply their angular chord changes and syncopated rhythms in first-rate tunes. [Sep 2012, p.97]

Has much nuance to gild its inimitable energy. [May 2023, p.88]

It feels like Palace's first significant work. [Feb 2021, p.85]

Fish is Chapman still pushing out the boat and long may he sail. [Nov 2015, p.86]

While there's more than a little influence from early New Order here, one can also hear echoes of Suicide, PiL's Metal Box and the motorik reveries of Cluster. [Jul 2005, p.112]

Live At Berkeley 1971 powers through it all – relentless, often overwrought, often brilliant, too. [Jun 2023, p.99]

Extraordinary. [Aug 2023, p.88]

The album levitates with light and serenity. [Mar 2021, p.88]

["Fünf"] A finale that thrillingly manifests the Can legend – equal parts ascetic and visceral, a wondrous zone where the corporeally propulsive co-exists effortlessly with the cerebral. The preceding Eins to Vier really aren’t bad either. [Jan 2025, p.98]

There's no flash, no showing off, just some rock-solid playing from the quiet man of Afrobeat. [Nov 2014, p.100]

With these songs, though, Cilker is building a beautiful place of her own. [Oct 2023, p.86]

This imaginative collaboration reveals itself as a ghostly and brooding collection with a healthy dappling of rainbow-bright harmonies. [Apr 2018, p.89]

These are out-of-reach glimpses of environmental paradise; hazy, transient, atomised, and, like the technological future they presaged, their expiration in-built. [Mar 2019, p.105]

More deliciously downbeat analog instrumentals. [Feb 2015, p.96]

Tinariwen still speak to the world as outsiders, but now they are telling us more about ourselves than we knew before. [Mar 2014, p.92]

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

Genuinely inspiring, the story of Bananagun is a great yarn. [Aug 2020, p.87]

Their second with this new line up comes up trumps again. [Jun 2009, p.104]

This is college rock meant to be blasted over the radio, a record as vigorous as it is joyous. [Jul 2025, p.87]