This assured, intense record heralds the emergence of a major force. [Nov 2003, p.123]

An inspired, invigorating concoction. [Feb 2002, p.108]

It's about 15 minutes and three songs too long. [May 2007, p.117]

An act of liberation as well as creation, it's thrilling testament to a spirit set free. [May 2020, p.102]

You could break your teeth on their solid pop structures, especially on Hated By The Powers That Be, but there's a volatility in these touch-paper guitars and flammable vocals, that ensures Brickbat is never straightforward. [May 2019, p.115]

It's an enchanting and quietly moving new chapter. [Jul 2020, p.104]

His overgrown rustic dream, though, is oddly modern and littered with fly-tipped rubbish, with free-ranging neo-folk mini-dramas drawing parallels between imagined past and haunted present. [Aug 2017, p.103]

The eight tracks and 31 minutes of the Night Train EP/mini-album, recorded during the Pefect Symmetry tour, should sate the faithful. [Jun 2100, p.127]

Their Macabre storytelling and aura of imminent violence lend themselves well to Twitch's vintage synths, and suspenseful effects. [Jul 2011, p.119]

It looks like The Rapture--now a trio following the departure of bassist Matt Safer--have regained their despite to flaunt their slightly awkward moves. [Sep 2011, p.102]

Clark had already mastered storytelling; now she's mastered heartbreak. [May 2020, p.103]

The third album is equally uncompromising, atonal industrial noise offset with melodious crooning, never settling for predictable paths. [Dec 2007, p.115]

This follow-up goes one further [than his 2006 debut], pushing Dawkins to the forefront of modern soul voices, his delivery suggesting a less showy John Legend. [Nov 2010, p.105]

It all works rather well. [Apr 2015, p.102]

Quirky nods to power pop, jazz, and even sci-fi dub suggest a restless, Beck-like future. [April 2012, p.107]

One of the oddest albums you'll hear this year. [Apr 2014, p.113]

Heavy-duty electronics doing repeatedly bloody battle with grimy strings... An intense but worthwhile experience. [Nov 2000, p.102]

This time, there's a bankable chorus or barbed sentiment for every mirror-ball moment, not just on the singles. [Sep 2001, p.112]

A guest spot from scene legend Greg Hetson confirms Eyes And Nines as the real deal. [Jun 2010, p.120]

Sound[s] authentically retro without ever veering into Lenny Kravitz territory. [Sep 2003, p.101]

For all of its denseness, America feels as panoramic and wonder-filled as the cross-country travels that inspired it. [Sep 2012, p.99]

A gloriously adrenalised return to form. [Dec 2019, p.106]

Having already been feted by everyone from Thom Yorke to Mark Ronson, this second album arrives with an infectious gait that's nigh-impossible to resist. [Nov. 2011, p. 140]

The Quiet One seized his moment with a burst of productivity encompassing 1968's raga-meets-rock-meets-music-hall Wonderwall Music, '69's Moog synthesizer noodle-fest Electronic Sound and '70s sprawling Phil Spector-produced melodic masterpiece All Things Must Pass. [Nov 2014, p.124]

Excellent from start to finish. [May 2020, p.103]

There is only one real slip - Stephen Fry's mood shattering appearance on the title track. [Dec. 2001 p. 123]

This is unvarnished rock, primal and exhilarating, songs groaning with their abundance of great hooks, suggesting that El Camino may well prove to be the pair's definitive records. [Jan. 2012 p. 116]

Hitchcock continues on a roll, all 10 songs here hooking you in with the head-nodding grooves and dreamy psych-pop tunes of seasoned pro. [Apr 2013, p.103]