It's engagiing enough that even the happily perplexing nine-minuter "The Well" breezes by with no danger of outstaying its welcome. [May 2010, p.117]

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

This cracking 19-track collection, plus extensive 24-page booklet, cherry-picks the area's best club music from the mid-'70s, an exuberant, carnival-esque mishmash of local carimbo and siria styles with big-band brass and frenetic Afro-Latino percussion. [Summer 2019, p.119]

Parquet Courts have delivered a fifth full-length album that ticks every box on the application form [for an uber-cool New York band of the Velvet Underground/Sonic Youth lineage]. [May 2016, p.114]

Grey Tickles, Black Pressure captures everything great about Grant's past and bundles it into his most riveting album yet. [Nov 2015, p.110]

More earthy than his contemporary Richard Thompson, Chapman shows younger pretenders a clean pair of heels with impeccable guitar-picking and tunes that veer from moist-eyed remembrance to defiance at times's relentless passage. [Mar 2019, p.112]

It walks the line between indie and pop without stumbling. [Oct 2006, p.125]

Its gorgeous chamber-pop is painted from a muted colour palette, with Farfisa organs, Hollies/Mamas harmonies and lyrics about weeping willows and late afternoons. [#361, p.108]

Rodriguez digs deeper into rave and party culture here. [Jun 2020, p.97]

Andrews shares far more than just a haircut with Linda Ronstadt and Joni Mitchell, while heartbreaker ballads such as Only In My Mind roll from her fingers like Carole King. [Feb 2017, p.111]

This follow-up goes one further [than his 2006 debut], pushing Dawkins to the forefront of modern soul voices, his delivery suggesting a less showy John Legend. [Nov 2010, p.105]

A charming record. [Aug 2014, p.115]

The youngsters prove themselves masters of dynamics, in The Mountain's gradually explosive ascent, and the muscular spasms of They Keep Silence. [Aug 2016, p.113]

Earle believes this is one of his best albums; he's not wrong. [Jun 2009, p.132]

Occasionally, Byrne subtly expands her musical palette with strings and woodwind, but never at the expense of her own guitar and vocals. [Feb 2017, p.111]

It's remarkably poised, perfectly calibrated vocal swells evoking the synthetic English pastoral of XTC or Julia Holter's experimental layering. [#361, p.112]

It's a thrilling ride with an artist who keeps everyone on their toes. [Aug 2017, p.108]

An arty, confident and exhilarating debut. It's everything pop music should be. [Mar 2005, p.94]

Their sound is now driven by a tensile energy that sounds like they've been mainlining the early Factory catalogue. [Oct 2017, p.107]

The accompanying impression of sincerity is enough to save unashamedly sentimental tunes such as Wedding Party and Two Children from mawkishness. [Jul 2012, p.96]

It's this urgently speculative spirit ["Is it human to ask for more?"] that make Adore Life a compulsive and substantial thrill. [Feb 2016, p.117]

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]

Strong and melodic, atmospheric and creative... a powerful work. [Oct 2004, p.120]

Don't believe a word of it; this mediation on aging has moments as filthy as anything from his X-rated past. [Jun 2011, p.125]

Dawn Chorus is quietly, but righteously confident. [Jan 2020, p.109]

Wyatt continues to be full of delightful surprises. [Nov 2010, p.117]

It's quite sublime. [Summer 2018, p.116]

He's still more traditionalist than outlier, but that's not necessarily a bad thing. [Jul 2020, p.19]