An album of studied precision and endless textures. [Mar 2014, p.95]

Hi Honey ultimately triumphs thanks to its creator' perfect chemistry. [Aug 2015, p.93]

Ambient noise draws the threads of these songs together – distant chatter, the sound of rain – but it’s the night buses and pubs of Wonderlight that best catch The Night’s Victoria Segal muted glimmer. [Feb 2025, p.82]

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]

A vital album for an anxious era. [Apr 2017, p.90]

These loose, predominantly acoustic arrangements area fine fit for Malkmus's usual shtick; shaggy, ambulatory songs full of odd twists and rococo angles that seem designed to undermine pretension rather than amplify it. [Apr 2020, p.90]

With his bijou gift for melody, over 75 minutes Hart delivers abundantly. [Aug 2013, p.86]

This is a galvanising return. [Apr 2013, p.96]

Glistening, radio-friendly fare. [May 2003, p.108]

Kid A is intriguing, eccentric, obviously a grower, but by Radiohead's standards it can't help but disappoint.

Music is fitful and its charms aren't all immediate, but Madonna is still doing what she does best--giving a lick of pop genius to the unlikely genre of experimental dance music.

Wheel reinvention, it ain't, but for insidious, emotionally overblown ear candy, Let Go hits a real sweet spot. [Nov 2002, p.113]

Ndegeocello's covers album comprises wonderful takes on R&B and soul. [May 2018, p.98]

There's a great live feel, especially on the more uptempo cuts. [Apr 2019, p.90]

TLICTFIR finds Wye Oak reaching new heights of sophistication. [May 2018, p.96]

[It] is largely unfettered by the dictates of genre. [Jul 2006, p.106]

The good news is that Have We Met shares melodic strengths with his previous high-water marks. [Mar 2020, p.88]

The line-up gel beautifully on these three long instrumentals. [Oct 2018, p.86]

This fifth and self-produced eponymous LP restates their collective intent with the hip-hop groove and soaring chorus of Gold Rush, the breezy drivetime rock of Old Tape (tackling persistent self-criticism) and the Judee Sill verses of Mad Love. [Jun 2025, p.80]

[These albums] are as much of a pendulum swing from Is A Woman as Is A Woman was from Nixon. [combined review of both discs; Feb 2004, p.90]

[A] dazzling modern dance album. [Jun 2015, p.94]

Everything you could want from a wizard, a true non-star. [Sept. 2011, p. 100]

The music draws on '70s fusion, post-rock and free jazz, and throughout McCaslin's sax expresses boldness, anger, beauty, joy. [Nov 2016, p.92]

In all, a very promising debut. [Nov 2020, p.90]

Rich, but foreboding stuff. [Mar 2003, p.106]

The result is a meditative set full pf surprises, and songs that haunt. [Aug 2018, p.90]

It all adds up to more willful magic from Plant. [Oct. 2010, p. 94]

Alongside jay Berliner's guitar lines, meaty chunks of organ, grooves aplenty and a soulful collection of new songs, it's a convincing performance. [Dec 2019, p.86]