Although the music is minimal, propulsive and built for clubs, Avery's formative years spent listening too rock and proto-electro lend the album a dynamic that suits headphone immersion. [Nov 2013, p.102]

Knight is now coming up on the rails. [Feb 2016, p.112]

Victory Shorts makes art-pop by contrasting Michaelson's mordant lyrics and juanty, sophisticated melodies. [Oct 2008, p.139]

Not all of it convinces; Buttery's vocals can stray into a chill-out. But this is still an absorbing record that deserves to break hearts beyond the confines of the dubstep scene. [Dec. 2010, p. 108]

An arresting record for challenging times. [Mar 2012, p.113]

Fizzing with energy and wearing its Pixies hat with pride, Touchdown is a blast of brain-scrambled indie rock that reaches its apogee, of sorts, on the irresisitibly dumb 'Hey, Hey.' [May 2009, p.119]

A tightly constructed record, its hushed instrumentation and Southern Gothic lyrics give it a melancholic mood, one that Bondy handles beautifully. [Dec 2009, p. 117]

Bad Contestant may sound studiously restrained, but Maltese never lets things stagnate, buoying the album along with his amusing lyricism. [Jul 2018, p.115]

This second collection of mostly covers after 2013's Memphis embraces some of the best music of his career. [Jun 2015, p.111]

All in all, as resonant and dignified a covers album as you'll ever hear.

Led by the strident vocals of the younger Klara, it is, however, the strength and surprising maturity of the pair's songwriting that makes The Big Black And The Blue such an impressive first effort, not least on the gorgeous Ghost Town. [Feb 2010, p. 105]

The resultant chaos is addictive, energizing and catchy as hell. [Feb 2010, p. 108]

The whole album flows like a rainbow-hued river animated by the spirit of generosity and wonder. [Aug 2016, p.116]

Their best yet. [Sep 2001, p.120]

Someone still plays the Devil's music. [Jun 2004, p.98]

Q's energetic, exuberant delivery is frames by some impressive and varied production throughout. [Jun 2012, p.108]

Stockholm contains 11 good-to-excellent songs, hooks and pleasure aplenty, but still, alas, short of a masterpiece. [Jul 2014, p.101]

It feels like a coherent vision, even if it occasionally spills into narco-whimsy. [Oct 2016, p.107]

A fascinating new direction. [Nov 2019, p.115]

Keeping up with his often logic-defying wordplay can be a challenge. But the payoff is a startling insight into how the world looks from the inside one of hip-hop's most original and consistently inventive minds. [Nov 2019, p.110]

These songs snap at the outer edges of country, blues and folk, their emotional turmoil leavened by moments of bone-dry humour. [Nov 2000, p.107]

It can meander--Mind To Be Had never quite knows what to do with its initially exciting Neu! vibrations, Defeatist Anthem doesn't shift beyond pretty--but they texture Barragan with a delicacy and precision that makes you want to keep picking away at these songs. [Oct 2014, p.114]

Petra's songs have an autumnal quality, wistful yet mellow, with his voice providing the earthy centre. [Dec 2019, p.106]

Posthumous albums tend to sound cobbled together, compromised, missing that vital spark, but this loving father-son dialogue has produced a worthy epilogue to one of music's greatest songbooks. [Jan 2020, p.115]

Like Coldplay rummaging through a charity shop, it's a patchwork of moods and styles all stitched together by Dangerfield's heart-on-sleeve exhortations. [Aug 2006, p.113]

It's a well-deserved victory lap for the trio and ample proof that growing up doesn't have to mean losing your edge--or your anger. [Mar 2017, p.115]

Listeners so far unhipped to the contemporary avant-classical may find themselves pleasantly intrigued. [Feb 2018, p.117]

It tails off slightly with too much frosted minor chord melancholy and some monochrome male vocalists, but there's nothing to suggest creative exhaustion. [Jan 2015, p.129]