Relaxer is a special album. [Aug 2017, p.101]

There is slick virtuosity to all the playing here but it is her warm, witty presence that shines through. [Feb 2011, p.118]

Its woozy title track, oddly sideways lyrics and often meditative vibe make it a strangely gorgeous and graceful work. [May 2002, p.114]

Astonishingly good. [Jul 2004, p.127]

Beams is more expansive and vulnerable that the nightclubbing menace of 2010's Black City. [Sep 2012, p.99]

Gorgeous, grief-stricken LP. [Dec 2019, p.108]

Misch's fluid songwriting is still to the fore, as on the title track's loose-limbed shimmy, heightened by an uplifting string arrangement. [Jun 2020, p.102]

Wearing their influences as badges of honour, the New Jersey quartet blast out affecting, soulful punk rock strewn with bitterweet memories of small-town blue-collar America. [Sep 2008]

Houck's trip through Nelson's 60-plus albums shows such love and attention the great man himself could only approve of such hangover gems as 'I Gotta Get Drunk.' [Mar 2009, p.101]

Too Much Information is a brisk and accessible record. [Apr 2014, p.114]

It sounds like the album Courtney Love might have made had she not spent periods of the past decade blitzed to the back teeth. Which is a (very) good thing, by the way. [Jul 2009, p.132]

Its charms are bound up with the subtle pleasures of listening to these songs anew and re-understanding their make-up. [#184, p.127]

Marcus Mumford's wearied vocal keeps the mood honest, rather than histrionic, and he finds a gentle beauty on 'After The Storm's' lonely walk home. [Nov 2009, p.115]

His debut album is a brilliantly inventive collision of '80s golden-era hip-hop, Aphex Twin-style beats and pop melodies that wouldn't be out of place on an OutKast record. [Nov 2009, p.107]

Kwaito beats and highlife guitars mesh with hip hop and dubstep, while love songs crash into mordant political satire. [May 2012, p.102]

Together We're Heavy's transcendent qualities grow as it flows onward, and the sheer musical ambition of the Spree's pet sound finally, really defies cynicism. [Aug 2004, p.116]

McKenna's charisma and melodic sense ensure it's a delight nonetheless. [Sep 2020, p.113]

An album full of freshness and fun that's less sketchy than its predecessors. [Jul 2004, p.110]

Throughout, the Horse prove their value over more polished ensembles, powering these naive constructs to a pure transcendent realm. [Dec 2019, p.113]

It shows a band building a new outpost atop the summit of their achievements. [Nov 2005, p.124]

In short: superb. [Dec 2016, p.106]

One of his best then, and a perfect entry point for anyone who might be intrigued. [Nov 2014, p.116]

Miss Anthropocene is not quite as brilliantly weird as its predecessor, but is certainly compelling enough to maintain Grimes' status as one of the most fascinating pop stars on the planet. [May 2020, p.105]

Helmet have fleshed out their minimalist grinding with proper tunes, but the question remains: will anyone care these days? [Nov 2010, p.105]

Weirdly timeless, even now. [Feb 2012, p.117]

This is maverick electronica without the headaches. [Jul 2003, p.103]

This lean, adrenal debut fors one better, blurring the boundaries between dance and rock with a flair not seen since Hooky and co plugged in their keyboards in the early '80s. [Feb 2010, p.113]

It's equally ambitious, forceful and joyous as Courtney Love's high water mark. [Feb 2011, p.118]