What remains unbroken doesn't need fixing. [Oct 2018, p.119]

There's a real craftman at work here. [Nov 2015, p.111]

It's fantastic stuff. [Sep 2006, p.107]

Rateliff is writing about his own vulnerability again, rather than telling other people;'s stories, all delivered in a hog-calling bellow that helps set him near the top of the enormous singer-songwriter pile. [Apr 2020, p.113]

Simultaneously disorienting and seductive. [Jun 2020, p.106]

It's pleasing too, this time, to hear Adams singing unadorned and less accompanied; it lets the melody run uncluttered and those brilliant lyrics step forward. [Apr 2016, p.101]

In its own fragile way, a delight. [Mar 2003, p.111]

The Ealing doom merchants come of age. [Feb. 2011, p. 110]

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

As a daring experiment which flies in the face of the derivative tendencies evident in the modern music industry, it succeeds. [Dec 2004, p.140]

Like every era of electronic music all balled up together, CCTV and subways, excitement and fear. [Jun 2014, p.123]

And the Anonymous Nobody delivers. [Sep 2016, p.104]

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

It finds them in rejuvenated form. Their lyrical seriousness is present and correct. [Nov 2017, p.115]

Faith In The Future continues this rich work [of short story narrative in song], but with a new feel of quiet sobriety. [Oct 2015, p.107]

The music is stripped-back but always eclectic. [Nov 2018, p.104]

An album that repeatedly pulls you back in to try and decipher its charms. [Nov 2015, p.111]

The obscurity of some of what's here might seem almost comical, but the love that has gone into the whole package couches most of the tracks in a sense of lost treasure. [Mar 2018, p.116]

This restless, shape-shifting experimentalism might have been something Mason's been working on now for two decades, but it's rarely sounded better than it does here. [Mar 2016, p.118]

Tearing At The Seams more accurately captures the feel of Rateliff's stirring live performances. [Apr 2018, p.112]

While lately the LA quartet's output has largely been preoccupied with reclaiming their crunchy alt-rock sound, The Black Album often exorcises it with synth and piano. It works superbly. [Apr 2019, p.118]

At the infernal din's core are some excellent, urgent songs of anti-fashion disillusionment. [May 2013, p.98]

Noel Gallagher-approved Alberta Cross's first offering fulfils the promise of 2007's "The Thief & The Heartbreaker" EP. [Oct 2009, p.105]

Mark this down as the point which we can say with certainty for the first time Devendra Banhart is here for the long run. [Nov 2009, p.113]

Slick samples and buoyant melodies are in, dissonant atmospherics pretty much out. [Feb 2002, p.111]

There's an unmistakable, tightly drilled quality to all his [Tony Esposito's] work. [Sep 2015, p.117]

The sonic invention---fast-cuts between moods and styles, washy layers of aural colours--never gets in the way of the songs and the result is a triumph. [Nov 2019, p.116]

Worth every second of the wait. [Oct 2015, p.108]