Simply crazed speedcore played over actual cattle auctions. [Jan. 2012, p. 120]

It doesn't keep up the quality all the way through but given his relentless enthusiasm from start to finish, El Khatib is probably used to people not keeping up with him. [Oct 2013, p.101]

Not for the casual listener, but enormously rewarding if you hanker for some NY loft space in your croft house. [Feb 2014, p.115]

The warm production, matched to their adoption of modern techno aesthetics, has upped the intensity of the sonic kink. [Apr 2015, p.98]

There are toe-curling moments. ... However, their voices are a convivial fit, most effectively on the gentle 22nd Street and the harsher, more restless Night Shift and both escape, dignity intact. [Jun 2018, p.114]

It might be the best album Jim Kerr and Charlie Burchill have put together since 1984's "Sparkle In The Rain." [Jun 2009, p.131]

Adds a touch of wistfulness to his usually slurred vocals. [Nov 2002, p.106]

Amid such fussy eclecticism, however, they can't always stop Lucius sounding like an idea for a great band rather than the real thing. [May 2014, p.113]

Earle isn't breaking any boundaries here, and he runs out of steam before the closing Goodbye Michelangelo, but he's doing what he does best--and that's better than most. [Aug 2017, p.105]

The focus on Darnielle's wonderfully evocative phrasing makes his songs sound like enigmatic fragments of short stories. [May 2011, p.120]

True, he lacks bandmate 50 Cent's raw charisma. But his leisurely delivery carries weight. [Mar 2011, p.101]

While her normal source of junior raunch [Max Martin] churns out the usual fesity hits... the remaining chastity-endorsing mush is nowhere near as exciting. [Dec 2001, p.131]

Mastodon return to the dense riffing of old. [Aug 2014, p.109]

It's the amped-up riff in the middle of Offspring Are Blank that best sums up their playful approach. They often flex their muscles without feeling the need to land a killer blow. [Aug 2012, p.97]

At times [Folklore] is too self-satisfied, throwing everything available into the mix in what seems like a desperate bid to grab some cred. [Jan 2004, p.114]

Predictably claustrophobic listening.... When they come up for air, Interpol have the tunes to match all the mannered gloom. [Sep 2002, p.107]

While the album title may echo the Liverpool indie-pop outfit of Driving Away from Home fame, Iron Lung's brooding intensity and Peter Hook-inspired bassline sound as if they've been teleported directly from Factory records circa 1981. [Jan 2017, p.104]

A low-light delight. [Jul 2012, p.110]

Well worth exploring. [Oct 2013, p.102]

It's the most consistently enjoyable Malkmus/Jicks LP since his excellent self-titled album of 2001. [Feb 2014, p.117]

As ever the brush strokes are broad and the confrontation is intense but it's good to know their fire is afar from undimmed. [Apr 2015, p.95]

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

New York's O'Death are a breathless proposition for the most part. [Nov 2008, p.118]

While their third third album won't win any prizes for innovation, it's pumped full of the kind of GM-modified anthems expressly tooled for both sticky-floored clubs and gigantic arenas. [Jul 2019, p.109]

It's an album that will send you to sleep, and to dreams of another dimension. [Jul 2016, p.114]

The voice may be thinning, but with age comes a quiet still wisdom. [Nov 2009, p.109]

Locates her coffee-cream vocals amid glossy settings ranging from hip hop to gurgling electronica and folk. [Nov 2002, p.105]

The 6ths is all about incongruity (where else could you find Gary Numan, 70-year-old folk diva Odetta and Sarah Cracknell sharing space?) and as such it`s an eclectic affair.