Combining jazzy looseness, rustic picking and an undertow of drugular mind expansion, this is one head cocktail that leaves no pain after it hits. [Apr 2015, p.113]

This deeply melancholic brand of haunting, sparse folk is as intoxicating as it is unsettling. [Feb 2020, p.111]

Although the music is minimal, propulsive and built for clubs, Avery's formative years spent listening too rock and proto-electro lend the album a dynamic that suits headphone immersion. [Nov 2013, p.102]

It's a record that draws you in, first with its story, and then with its songs. [Aug 2020, p.106]

Unsurprisingly, their music proves equally mysterious, the lava-like bass and shuddering beats suggesting a familiarity with dubstep's experimental margins. [Aug. 2011, p. 116]

Though for all the slick instrumental interplay, with guitarist Steve Lacy again outstanding, it's Syd's hushed, Aaliyah-like delivery that supplies the core emotional connection. [Aug 2018, p.111]

After a couple plays, his just-crawled-out-of-bed falsetto and homemade designs start taking root. [Nov 2002, p.102]

Stylistically he's been likened to just about everybody from Leonard Cohen to Kurt Cobain. However, the use of loops and samples on Chemical, for instance, are just as likely to recall Beck, while the damaged tone could give Eels's E a run for his money.

Small, perfectly formed and wonderfully refreshing. [Jun 2004, p.105]

Brown's vivid storytelling skills bear testament to a major talent. [Jun 2012, p.108]

The hardest-working slacker in rock goes from strength to strength. [Nov 2015, p.108]

A warm, spirited pop record that holds its own against everything else in their canon. [Nov. 2011, p. 134]

Throughout Grace is brave and brutally honest. [Mar 2014, p.107]

Baffling, but exhilarating. [Nov 2006, p.144]

Cenizas creates the precious illusion of space and motion. [Jul 2020, p. 109]

All thoughts of age, celebrity and stadium itineraries melt away as the Stones work their peculiar alchemy with vigour, mastery and jeu d'espit. [Feb 2017, p.114]

While AAARTH doesn't veer too wildly from the template--tightly-wound rock riffs and pummelling drums forming a circle around frontwman Ritzy Bryan's atmospheric hooks--it doesn't put a foot wrong, either. [Nov 2018, p.109]

A bright, bold new talent just got bolder. [Oct 2019, p.106]

This LP shows fierce songwriting strength. [Feb 2020, p.108]

This record, however, makes an indelible mark. [Feb 2010, p. 110]

The voice may be more Grandpa Simpson than Grand Ole Opry these days, but the spirit on Ramble At The Ryman live set is unbeatable. [July 2011, p. 106]

A masterpiece of bombed orchestral elegance, at once expansive and intense. [Dec 2002, p.112]

There are slamming riffs to be found, but they're still wrapped within synaspse-melting mathcore that requires a PhD to genuinely appreciate. [May 2010, p.112]

Nine Types of Lights finds them boldly going forward with their most cheerful, party-centric effort to date. [May 2011, p.123]

A vigorously thought-provoking record. [Aug 2014, p.113]

Rejoice is sparse, just drums and bass, with Masekela's flugelhorn providing the fluidity and freshness that elevates it above the park kickabout it might've been. [May 2020, p.100]

So no, it's not perfect. But Whatever People Say... has that edge, that thrill that comes only when a band have hit the zeitgeist hard and timed the punch to perfection. [Mar 2006, p.102]

More of these slinky, emotional outpourings please. [Dec 2019, p.113]