It's a rap record for rap people. [Oct 2015, p.106]

An album that is one of 2018's gems. [Nov 2018, p.102]

Impassioned, thoughtful, chock-a-block with great tunes, this rich mix of vibrancy and gloom does what all great rock should--lift the spirits. [Oct 2014, p.107]

Morrison languidly strolls though the light and dark of his past stylistic glories over 14 entirely new self-penned songs. [Jan 2020, p.110]

There's serious craftmanship here. [Feb 2018, p.108]

Imagine David Axelrod producing The Beatles, and you get an idea of The Earlies' ambition and musicality. [Mar 2007, p.111]

They artfully balance soaring interference-cloaked anthems with dreamier My Bloody-style FX investigations. [Mar 2018, p.113]

This enjoyably jumbled set could be their London Calling. [Mar 2019, p.115]

It coats its spiritualism in an optimism that is never less than radiant. [May 2020, p.113]

It's undoubtedly her strongest record yet. [Mar 2016, p.111]

These songs sound as if they could have echoed around soot-stained ports and roadside taverns for generations and can still cast 21st-century listeners under their spell. [Mar 2018, p.117]

It feels as if they are making music for the sheer pleasure of it, and it's this that proves the record's abiding charm. [Aug 2008, p.143]

Self-consciously clever yet compelling, thanks in part to singer Jonathan Higg's hyperactive falsetto and garbled surrealism. [Sep 2010, p.116]

The album's joy lies in being whisked seat-of-pants through moods, styles and tempos by a band always with pop glory in their sights. [Summer 2020, p.105]

[When Paloma] revert to classicism, she proves there's more than one way to skin the "vintage" cat by adopting the persona of an exuberant disco diva, invoking the spirit of '70s glitter ball goddesses such as Teena Marie or Alicia Bridges. She wears it surprisingly well. [Apr 2014, p.108]

Even when they do go a bit hippy-dippy, it's rarely at the expense of something you can hum along to. [Summer 2019, p.115]

The middle section boast a tougher, truculent edge reminiscent of last year's mixtape If You're Reading This It's Too Late. But it's during the final sequence that everything clicks. [#361, p.114]

With Valhalla Dancehall, it's time to laud British Sea Power for attaining greatness strictly on their own terms. [Feb. 2011, p. 116]

A more than a welcome return, Painted Ruins is the album you suspect Grizzly Bear didn't think they'd ever make. [Sep 2017, p.111]

It's a graceful exhibition of light melody over dark mood. [Jun 2014, p.110]

A very impressive debut. [May 2005, p.117]

Poison Season sounds like a restless musical intellect stretching out with new confidence. [Oct 2015, p.106]

A second take on [Cellar Door], hollowing out its blissful balearica to create echo-y somnambulant disco-dub. [Oct 2015, p.110]

Saturn isn't afraid to show her playful side. [Dec 2018, p.105]

At its best you're reminded of Yorke's eminent skill: a fluency in dark, otherworldly romance that makes the alien sound familiar. [Dec 2018, p.106]

While the sense of danger that characterised 1997's Mogwai Young Team or 2001's Rock Action might have abated, Mr Beast shows a band who have lost none of their bark or their bite. [Mar 2006, p.108]

Shine On is "new old rock" at its finest. [Nov 2006, p.136]

It's not perfect, but there's enough of their magic here to see even Harry Potter fall back under their spell. [Jan 2016, p.106]