Reassuringly, Gilmour's cool and composed vocal delivery and liquid guitar solos dominate throughout. [Nov 2015, p.113]

Stelmanis is her own woman and on Lose It and Spellwork there's enough regal clatter to elevate her from being a mere cult concern. [Jun 2011, p.107]

Horehound's strengths are also its weaknesses--the rush with which it came together, the sense that it amounts to Jack White playing to type. But like Jack White, too, when it's good, it's very, very good. [Aug 2009, p.102]

It's a surprise to have him back, but on the strength of After You, a more than welcome one. [Jan 2020, p.113]

The best parts of Hawk, where Capbell's voice slips around Lanegan's like a membrane and the duo assumes a single, menacing persona. [Sep 2010, p.121]

This collection by 18-year-old Chicagoan David Davis makes footworking beats accessible. [Dec 2012, p.106]

Rakei's gently wistful tone fits the general mood, though it's something of a relief when he shifts gears. [Summer 2019, p.115]

The mix may be familiar but it's still frequently thrilling. [Apr 2015, p.104]

Requiem is Goat's most acoustic and folksy release to date, but their greedily promiscuous approach to pilfering beats from all pints of the globe is undiminished. [Nov 2016, p.107]

There's still enough trail dust on the seat of their experimental pants to delight country rock eggheads. [May 2006, p.123]

Aside from the Flying Lotus-produced curio tucked away at the end, there's little sign here he's willing to attempt a new role. [Jul 2011, p.111]

Invoking the spirit of minimalist commposer Steve Reich, Hebden crafts music of fragile beauty fron the simplest sonic palette. [June 2008, p.142]

It's excellent. [Nov 2015, p.107]

An exquisite addition to the canon. [Apr 2003, p.104]

This is largely Arab Strap on familiar ground: filmic guitar atmospherics backing an extended bout of post-coital melancholy.

Sure, it sails close to novelty record territory but Folds demonstrates exceptional skill in marrying wryly observational lyrics to upbeat piano-driven craziness.

Go Forth is addictively oblique stuff, veering joyously between budget Gary Numan, scene elder statesmen Fugazi and the Pixies in their surf-rock period. Shredding instinct and convention along the way, Harrington has forged something compellingly original here. [Nov 2001]

An effortless melding of Stones and Family Stone, Curtis Mayfield and computers, all topped off with Tim Burgess's fetching new falsetto.... With every track a winner, Wonderland is a truly thing of wonder.

Heavenly. [Mar 2012, p.97]

Femejism is every bit as exhilarating as debut Sistronix. [Oct 2016, p.107]

Lucky, then she's so musically warm and, like its predecessors, Safe Trip Home takes comfort in a sound that almost masks her unrest. Almost. [Dec 2008, p.127]

They're at their most effective, however, when they allow their songcraft to dictate the swirl, rather than vice versa. [Nov 2016, p.115]

Andrea Ferro's growls and Cristina Scabbia's soaring melodies just about rescues this from sounding as dated as its influences. [Feb 2012, p.107]

The Heavy remain The Black keys for people who'd rather dance than mosh. [Sep 2012, p.102]

The first 25 minutes are exhilarating if a little one-dimensional, but eventually they rein in the noise slightly. [Aug 2014, p.107]

The follow-up sounds like an altogether more professional job. [Feb 2017, p.112]

The thematic predecessor to this LP underlined Yoko Ono's re-evaluation as a musical envelope pusher by a new generation of artists including Cat power, Spiritualized and The Flaming Lips, who all reworked moments from her back catalogue. This sequel successfully repeats the trick. [Mar 2016, p.112]

[Common] delivers something fresh and vibrant by applying his seasoned skills to old-school breaks, classic hooks and a measure of eclecticism. [April 2012, p.104]