The net result is an album that hangs suspended between Earth and the stars. [Jun 2019, p.116]

Not everything works, but there's a painful honesty throughout that befits a songwriter with no desire to lapse into a complacent middle age. [Mar 2012, p.111]

Angry, innovative and often ahead of the curve. [Feb 2012, p.111]

It's still not exactly crossover material. But the twitchy, Four Tet-like epic Thousand Yard Stare would slot perfectly into one of Yorke's after-hours DJ sets. [Jan 2017, p.108]

Oakland's finest [Green Day] won't exactly be quaking in their boots, but they may respectfully tip their hat. [Feb 2017, p.116]

Every so often, a newfound edginess gratifyingly creeps in, be that musical, on the gothic post-hardcore of "Plan A," or lyrical, on "The Sea Is A Good Place To Think Of The Future," a movingly detailed portrait of a suicidal girl. The signs of a band whose ambition may yet match their productivity. [Mar 2010, p.055]

Throbbing synth-pop from husband-and-wife duo. [Aug. 2011, p. 120]

Thanks to their guileless sincerity and boundless invention, The Lemon Twigs manage to pull it off. [Sep 2018, p.111]

A band clearly in awe of Jarvis Cocker's lyrics and the sound of spiky guitars. [Jul 2005, p.119]

The follow-up to last year's scene-defining debut, Aerial, is every bit as good. On Lost, Huismans takes dubstep's booming sub-bass and frozen atmospherics and adds fuzzy keyboards and a spiralling vocal sample. [Dec 2009, p. 111]

For a "difficult" record, it's an oddly easy sell--an instant, atmospheric disturbance, a tiny portable wormhole. [Aug 2018, p.108]

A collection that feels like a fresh bookend to their first three classic albums. [May 2015, p.115]

'Love Is Free' ambles pleasantly, 'Gasoline' is 'All I Wanna Do' revisted and 'Detours' itself would grace any Best of. [Mar 2008, p.100]

Lynne and Moorer are at their best on the straight country material, but their take on The Killers' My List usurps the original. Sadly, things take a turn for the worse later. [Sep 2017, p.113]

You plug it in your ears in June and three months later you've barely listened to anything else. Highly recommended. [Nov 2013, p.104]

In upbeat mode, he's made of stirring stuff, but the real wonder here is to be found when he drops a gear into hushed beauty and sun-dappled loveliness. [May 2012, p.101]

They strain to resemble the Stooges and mavericks from the Beasties to the Stones but still can't conjure the killer tune. [Oct 20012, p.103]

The surreal stoner wit of vintage Little feat is still missed, but this is perfectly respectable business as usual. [Sep 2012, p105]

Their sixth learns from those mistakes [on their fifth album], sounding rougher, tougher and altogether more like the raucous joy of their live shows. [Sep 2013, p.102]

Its opening five minutes posit the sound of "war machinery" grinding slowly to the point of metallic cacophony, but there are many more intriguing pieces afoot. [Jan 2014, p.122]

Amid too much mid-tempo drear it's left to Rockabye Baby to bring some fire to a n LP that rarely does more than enough. [Jun 2017, p.102]

Dividing their labour between two vocalists and songwriters does much to keep this second record interesting. [Apr 2020, p.113]

He's better when he approaches modern life from more oblique angles. [Summer 2020, p.104]

This instrumental mixtape isn't Jaime Meline's best work, but there's no denying the manic intensity as Meline's machine-gun edits cut together old-school electro and spooked Hammond grooves. [Sept. 2010, p. 117]

What we are left with is a sense of something not quite finished... It makes Ringleader Of The Tormentors feel like a transitional album. [Apr 2006, p.108]

Martsch's hitherto opaque lyrics are more revealing than normal, exposing sentiments of anger and loss. [Mar 2010, p.97]

It's DIY-spirited, non-conformist and humourous, making this punk-war veteran's return a flavoursome treat. [Apr 2011, p.109]

The results are hyperactive and punky. [Jun 2009, p.117]