Although just 26 minutes long, it's an unexpected triumph. [Apr 2009, p.115]

The neurotic twists and nuances that made 1982's Vs so electrifying are still apparent... further confirmation that Mission of Burma have no intention of either burning out or fading away. [Aug 2012, p.104]

Warm and beautiful music. [Mar 2014, p.117]

While this more contemplative side rounds out their usual roaring punk, it does strip them of some edge, making The Black Market sound oddly anonymous. [Sep 2014, p.113]

The hit rate is impressive. [Oct 2015, p.109]

Some of the best [tracks] of Rose's career. [May 2019, p.116]

Where other ambient artists can veer dangerously close to musak, Frahm always brims with invention. [Dec 2019, p.109]

It's beautifully put together, remarkably so given that it was constructed largely via the internet. [Jun 2009, p.124]

As a result, She Rode Me Down thunders along like a flute-propelled express train, Black Smoke is a foreground as they've been since their moment of near-glory Travelling Light and they somehow prised the elusive Mary Margaret O'Hara out of obscurity to duet on Peanuts. [Feb 2010, p. 112]

When he's on this sort of excitable form, no one, Albarn included can keep up. [May 2012, p.108]

Energy levels stay firmly in the red throughout and, perhaps, unsurprisingly given the subject matter, it sounds as though the pair had enormous fun in making it. [May 2012, p.102]

We get their most pastoral outing to date, piano ballads one minutes, laid-back Neil Young the next. [July 2010, p. 129]

[Glass's] lyrics are often buried in the mix, but no amount of production occultation can hide the fact that the likes of Plague are excelsior anthems for the End Times. [Jan 2013, p.103]

The oddball duo of Arone Dyer and Aron Sanchez rage in a noise-rock playground, sometimes using instruments handmade in Sanchez's workshop. Amid the racket, Dyer's yearning gives political screeds the intimacy of a lover's spat. [Feb 2019, p.108]

Her innate spikiness keeps the schmaltz in check. [Oct 2019, p.108]

All of the elements that make the band great--the Shadowsy guitar solos, James Skelly's Eric Burdon-meets-Jimmy Corkhill croon, the breadth of imagination--are well lubricated, but the songwriting has rocketed. [Aug 2003, p.106]

Espers' folk apocalypse is very now--and very welcome. [Dec 2009, p.112]

Two Suns is an intoxicating, addictive album, a step on from "Fur And Gold" a leap into a galaxy of its very own. [May 2009, p.118]

Gonzales works with subsonic electronics, shoegazey ambiance and lush orchestration to create a wildly ambitious, often visionary record. [Nov. 2011, p. 136]

Although at times Lost Girls' nostalgia feels slightly generic, the record does benefit from Khan's ability to weave nuanced emotional portraits--something that imbues an overused retro aesthetic with intrigue once more. [Oct 2019, p.109]

Rather than working as a listening experience, Myth Takes feels more like a dry run for one of !!!'s compulsive live shows. [Apr 2007, p.116]

Reflective, humourous and romantic, Catacombs is perfect for those long summer nights ahead. [Jul 2009, p.133]

Choice of Weapon is absurd, brilliant and stupidly good fun. [Jun 2012, p.100]

A step backwards. [May 2014, p.121

[Wiesenfeld has an] uncommon ear for texture and rhythm, albeit one compromised by a weakness for self-consciously introspective lyrics and highfalutin sixth form poetry. [Jun 2013, p.93]

This is lush music to get lost in. [May 2020, p. 100]

An intriguing drivetime playlist results. [Jul 2016, p.109]

Sweet, subtle and quietly insidious. [May 2005, p.111]