Pop Trash proves to be far from embarrassing...

Psychedelic 12th LP from prolific garage rockers. [Aug. 2011, p. 126]

It's the dreamy experimentation of Ethiopia and Side Effects that highlight the brothers deepening range. [Nov 2014, p.104]

The Connection is a stylistic leap, that shows surprising restraint, and--whisper it--maturity. [Nov 2012, p.102]

EVen without the Tron-like eye candy of their stage set it's a spectacular show, [Dec 2007, p.115]

Longwave is more improvisational, and the results are even more spidery than before. [Jun 2018, p.109]

It's as complex and funky as the city that inspired it. [Dec 2008, p.133]

It's a compelling mix, although the gaseous atmospheres and subtle melodies of Unbalancing Acts and To Swim drift too far toward shapelessness. It's a highly promising debut nonetheless. [Jul 2016, p.111]

The faithful will be overjoyed: despite the optimistic title there's nothing new here, only a distillation of trace elements from previous outings. [Oct 2002, p.106]

Vintage soul styles are duly nailed with his coruscating guitar between funk and psychedelic rock. [Jun 2011, p.110]

Hugely exciting one minute, unlistenable the next and far too much to handle in a single sitting, Thirlwell's noise addiction can still make Trent Reznor seem like a pussycat.

A muscular piece of work... [but] a tangible sense of genuine passion is, ultimately, absent. [Jul 2005, p.112]

Bizarre, but not without appeal. [Feb 2006, p.104]

Color Theory is a record that weighs heavy with low self-esteem and personal tragedy. [Mar 2020, p.122]

The lack of uptightness suits them. [Feb 2016, p.118]

An intriguing record, it takes bending acid-folk as its base camp but is at its most interesting when exploring more unexpected musical universes. [Feb 2015, p.110]

This doesn't have the deranged glee of Smash It Up, but follows the streamlined energy of classic 1982 Damned album Strawberries, with a stern rock pulse at a time when their contemporaries would be glad of any kind of pulse. [Jun 2018, p.109]

So while fourth album Shogun is impressive, Trivium continues ro make "...And Justice For All" when they could do with a "Black Album" instead. [Nov2008, p.107]

Gene have found a soulful and reflective edge that's brought them close to matching the grace and guile promised by their debut, and best album, Olympian.

While the grooves here prove to be equally minimal [to Headhunter], his debut LP is driven by a febrile, wildstyle energy at odds with dubstep's cavernous soundscapes. [May 2012, p.90]

'Ludow St' is lyrically smart, musically ambitious, more than any other track on Phrazes, it makes you wonder, if not regret, why the Strokes themselves never pushed the boat out this far. For that reason alone, it was worth Casablancas making this intriguing if imperfect record. [Nov 2009, p.98]

It's the kind of record you hate yourself for liking. [Dec 2003, p.132]

Musically and lyrically, this has the same hazy, starry-eyed feel [as Music Of The Spheres]. [Oct 2004, p.121]

Coming over not unlike Belle & Sebastian with muted horns and liltingly voices, sounds gently ebb and flow. [Jun 2011, p.110]

His fourth album sees credible Jean making a timely return. [Dec 2003, p.129]

It's not all restrained and even if in parts it sails too close to generic Americana, there's much evidence here that O'Donovan is one to keep an eye on. [Aug 2013, p.103]

The trio's nearly sub-sonic blues, jazz and beat poetry hybrid once again evoking a dangerous Spanish Harlem drinking den while Near Eastern influences and a subtler instrumental mesh hint at what might yet have been.

Growing up is hard to do, but Bruland has clawed some fabulously uneasy songs from the process. [Jan 2018, p.109]