The way Blumberg expands and contracts the title track four times over the record, or filters a warped background shriek into Silence Breaker, underlines his experimental drives, his desire to push through sound barriers. [Sep 2020, p.107]

Holly balances a nostalgic timelessness and modern, urgent emotions. [May 2014, p.120]

A great leap forward. [Oct 2003, p.113]

Years & Years may not be with us for the long haul. But right now, they're picture perfect. [Aug 2015, p.110]

For once, the return to form tag rings true. [Dec 2003, p.129]

An altogether more satisfying supply of air punching, stadium sized choruses. [Jun 2004, p.103]

This deeply melancholic brand of haunting, sparse folk is as intoxicating as it is unsettling. [Feb 2020, p.111]

It amounts to Mark Eitzel's best album in years. [Feb 2017, p.112]

Nobody... rekindles the dark brooding of their first two albums. [Dec 2014, p.117]

Stuart Murdoch's lyrical muse is a touch subdued but Come On Sister's moreish synth-pop and the gleeful bubblegum, of Stevie Jackson's I'm Not Living In The Real World prove their sense of indie wonder remains undimmed. [Nov 2010, p.114]

'I Heard Wonders' and the title track are standouts, blissed-out epics suggestive of U2 tangling with 'The Jesus And Mary Chain,' while instrumentals 'Story Of The Ink' and 'Theme/IMC' radiate desolate beauty. [Oct 2008, p.147]

Hold Time cements his status as one of America's best roots songwriters. [Mar 2009, p.105]

It's their most melodically accomplished and wide-ranging effort yet. [Apr 2009, p.111]

An astonishing, envelope-pushing vision that mocks the idea of bluegrass being a revival genre. [Apr 2012, p.94]

Gentle, droll and - bar the disappointingly immature Oh Shucks - mercifully free of knob gags, Minor Love is charming. [Feb 2010, p. 108]

Throughout, the bouncy enthusiasm of old has become heavier, louder, faster and stronger. [Jan 2003, p.113]

Most of it... suggests that New York's time is, once again, imminent. [Aug 2003, p.119]

Want Two isn't an immediate album, but what it lacks in pop hooks in makes up for in ambition. [Mar 2005, p.92]

What's The Sound? is an intimate, lavishly layered collection topped by Woolhouse's worried vocals. [Jan 2017, p.115]

Smart, witty and warm. [Dec 2017, p.113

It is both slick and accomplished. [Oct 2011, p.120]

Another rewarding helping of tuneful art-rock that moves their initial Sonic Youth fixations into far more expansive fields. [Feb 2020, p.108]

Tinashe's voice is pure and malleable, her lyrics suggestive and assertive. [Dec 2014, p.116]

Six albums in, Baxter Dury has realised a sound and lyrical approach that is unmistakably his alone. [May 2020, p.101]

From the anthem-like 'Ode To LRC to the sanguine finale of 'Window Blues,' this is beautifully paced and utterly beguiling. [Dec 2007, p.112]

The songs are embedded with reflection and romance... This is how Christmas records are really done. [Jan. 2012 p. 118]

A brilliant distillation of Reich's twin enduring motifs: repetition and melancholia. [Apr 2018, p.112]

There's a deliciously tangy freshness to the massed voices and acoustic thrum. [Apr 2014, p.103]