This fourth solo album is daring and hugely composed. [Mar 2014, p.115]

On every possible level, this album is a total blast. [Jan 2015, p.128]

This is maverick electronica without the headaches. [Jul 2003, p.103]

A record that finally fulfils sampling's original promise of generating fabulous new sounds from skilfully lifted bits of existing tracks.

A deconstruction of heartbreak pulling out all the emotional cogs and catches with the precision of a watchmaker. [Dec 2018, p.110]

The switches from retro punk to camp stadium rock are seemless, and Creeper prove themselves worthy heirs to the bombastic rock bands of the past. [May 2017, p.103]

Magnificent. ... Kiwanuka rewards your commitment from the first second to the last. [Dec 2019, p.104]

A fourth disc of out-takes shines a light on alternate versions and work-in-progress songs that would surface on later albums. [Dec 2014, p.123]

While he has never sounded quite so full of empathy, this is a grumpy old record. [Oct 2006, p.114]

Deep voiced, disquieting and bristling with intelligence, Hobo Sapiens is a reminder of how intoxicating an artist Cale can be. [Nov 2003, p.107]

This is the sound of RTJ staking their claim as one of the all-time great hip-hop duos. [Aug 2020, p.112]

Twenty years, five discs, but Nevermind is always more than the sum of its parts. [Oct 2011, p.133]

Perspicacious and personal, cool and colossally enjoyable, Sawayama is both a triumph over trauma and a paean to the power of effervescent pop in practically all its forms. [Jun 2020, p.98]

Yet again, Mann's songs concentrate on life gone wrong - but this is timeless stuff.

All Mirrors strikes an impressive balance between familiar and strange - resulting in an album that's startling and breathtakingly beautiful. [Nov 2019, p.109]

Most of what's here is great melancholy rock, but sometimes held back by Wilson's willingness to play the perennial prog-rock boffin. [Mar 2015, p.118]

Leftism is tough to improve on. [Jun 2017, p.114]

Perfectly encapsulate what Astronaut Buzz Aldrin described as space's "magnificent desolation." Includes new LP, All Mankind, making it truly indispensable. [Aug 2019, p.119]

Paranoid, doomy synths temper the classicism of Christinzio's luxuriant Harry Nilsson songwriting. [Jun 2020, p.94]

This lean, tightly structured follow-up ramps up the intensity. Built around raw, electronic productions, it also showcases his ability to rhyme with devastating candour over wildly varying beats. [Aug 2017, p.111]

The result is an album that balances sophistication with a satisfying pop sense, and emotional heft with a lightness of touch. [Oct 2018, p.110]

It's '80s synth-pop in spirit rather than form, miles away from the make-up clad silliness of electroclash and much more interested in muching about with present day technology than simply recreating the past. [Jun 2004, p.98]

We Are Not Your Kind marks a supremely confident reassertion of their capacity to pulverise. [Sep 2019, p.116]

With Merriweather Post Pavillion, Animal Collective have refined their distinctive vision, once again proving they are ahead of the pack. [Feb 2009, p.1114]

Mixes melancholy and might to a rare degree. [Sep 2002, p.104]

Almost entirely instrumental, but full of a subtlety often obscured by words. [Jul 2005, p.114]

Without diluting the pair's roots, the 1 tracks weave a binding spell that feels just as familiar to Western ears as African. [Mar 2010, p.108]

The original beats are still as fresh and inviting as a newly changed bed. At 10 tracks, Illmatic is satisfying lean and cohesive--remarkably so for a hip-hop album with five producers. [May 2014, p.125]