They're sparkling again. [Aug 2018, p.111]

There may be a lack of tub-thumping choruses, but he has an unerring ability to craft a warm, welcoming atmosphere. [Jun 2019, p.111]

Despite the voices changing from one song to the next, Marshall never lets you forget you're listening to the same LP. Mission accomplished. [Apr 2020, p.109]

Silencio! really soars when Sadier rails loudly against the injustices of our austerity era, as on Auscultation To The Nation. [Aug 2012, p.109]

He can take his more laid-back approach too far, however, sounding as if he might be about to nod off during Web So Dense, Yet the moments of genuine loveliness more than compensate for the occasional bouts of narcolepsy. [Dec 2018, p.111]

Anyone expecting a lot of happy-clappy Bible-thumping best rethink. [Mar 2007, p.112]

It's very much a period piece, but a very enjoyable one at that. [Feb 2012, p.107]

This restless duo have never sounded so much like themselves, and the result is spellbinding. [Oct 2013, p.107]

Presley makes more connections than he ever drops. [Mar 2019, p.116]

S&P might not have rewritten the dub rulebook here, but they've certainly minted a thrilling new chapter. [Mar 2015, p.116]

Latin, their third album, turbo-charges post-punk, lolloping Karutrock and primitive electro.

A solid comeback, then. [Sep 2016, p.105]

A complex album that reveals more with each hearing. [Oct 2009, p.110]

While these songs still have Matsson's trademark melancholy at heart, there is a new kind of gladness and hope to them too. [Jun 2015, p.112]

Gleaming with instant hooks, this is a uniformly radio-friendly album. It's also a hugely addictive and likeable one. [Mar 2007, p.108]

The trio's lyrical style is woven into a bewitching mesh of soul, funk and psychedlia by cut-and-paste guru Madlib. [Mar 2010, p.98]

This is the sound of someone learning, brilliantly on the job. [May 2013, p.96]

On these songs and the anthemic "Hard Times," Drew achieves what's he's aiming for: a gritty urban update on '70s socio-political classics by Curtis Mayfield and Marvin Gaye. [May 201, p.119]

There's a lot going in here, but it's delivered with an effortless charm that trusts listeners to pay due attention in their own sweet time. So far, so swimmingly. [Aug 2012, p.94]

It's messy, it takes time to sink in, but it's worth it. [Sep 2007, p.100]

Who could of predicted, then, that Intriguer would be his best work in nearly two decades? [Aug 2010, p.116]

Alone In The Universe is warm-hearted, consummate, just about perfect. [Dec 2015, p.110]

He's smart to pair Angel Olsen with a beat from the understated end of Queen's playbook, but it doesn't always work with Camila Cabello sounding oddly generic on Find U Again. [Summer 2019, p.116]

His pure delivery--he scales the heights, but never over-sings--and cryptic/mystic worldview are still the main attractions. [Dec. 2008, p.100]

This is a hugely promising debut. [Apr 2020, p.106]

Well crafted, easy-on-the-ear janglepop which chugs along in a jaunty fashion. [Mar 2006, p.108]

As the title implies, it tackles the big issues, sometimes at the expense of melody, but there's a handful of very fine songs here. [Nov 2008, p.118]

It's moments like this [on Malibu Man] when Auerbach hits the classic soul button that his versatility really shines. [Jul 2017, p.113]