Not since Massive Attack's Blue Lines have a heavy heart and urban dread been so absorbing. [Jun 2013, p.97]

Occasionally the vocals soften the edges, but on a record that feels as if it's trying to catch the moment of changing states - geological and mental - it's dynamism always powers through. [Summer 2020, p.104]

A record that confounds expectations on every level. [Jun 2011, p.110]

Fly Rasta offers no concessions to the new-fangled ways of hip-hop, dancehall and R&B. [Jun 2014, p.114]

Beautiful and inscrutable, it runs very deep indeed. [Sep 2019, p.117]

None of it will scare the horses, but it's certainly the right side of unexpected. [Oct 2019, p.113]

Vespertine quietly proves that cutting-edge production and human contact aren't mutually exclusive. [Sep 2001, p.109]

Dark and greasy, The Other Life is where Shooter's past and present finally come to terms with each other. [Aug 2013, p.105]

This album is as comfortable with skittery beats and strikingly artful arrangements as it is with acid throb and super-sensual disco shudder. [Nov 2013, p.111]

It's the quality of the songwriting that really shines through here: every song is top drawer in melodic terms. [Feb 2019, p.115]

Creation is a tightly focused, instantly accessible and gloriously summery on the surface as its predecessor. [Jul 2014, p.114]

A radiant blast of cosmic rock and intergalactic electro-pop that sounds as next-level as the voice of the spaceship, the brain i n the jar, a full-force astral projection. [Jul 2017, p.105]

An album of satisfying melodic warmth, Down Like Gold is a winter morning headphone treat. [Mar 2014, p.110]

A couple of tracks featuring Kember's spoken word are skippable, but elsewhere such druggily joyous songs as Just A Little Piece Of Me and the triptastic I Can See Light Bend induce pleasant daydream states. [Summer 2020, p.105]

Primal Scream haven't sounded this vital in at least a decade. [Jun 2013, p.97]

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]

On these songs and the anthemic "Hard Times," Drew achieves what's he's aiming for: a gritty urban update on '70s socio-political classics by Curtis Mayfield and Marvin Gaye. [May 201, p.119]

The emphasis is on big, radio-friendly choruses, four-part harmonies giving an euphoric dimension to their punk-influenced sound, with less of the earlier complex angularity. [Jun 2010, p.127]

The most successful synthesis of their prog-tinged ambitions so far. [Apr 2003, p.102]

Poetess-godmother of punk compiles own Best Of. And she's still sustaining. [Oct 2011, p.137]

A giant leap from their 2016 debut. Critical is the discovery of drummer Aaron Frazer's falsetto voice, leading six of the 12 songs, he's doubled the band's stylistic and emotional range. [Apr 2019, p.113]

Fittingly complex. [Summer 2020, p.107]

A concept record about femininity that finely balances intelligence with accessibility, The Witch gets better and better with repeated listens. [Jul 2017, p.112]

Poignant and sincere, this is a Bill Callahan we could do with more of. [Jun 2003, p.104]

It's wall-of-noise stuff, but consistently they manage to either build a decent tune into the squall or else engage the listener through exhilarating power alone. [Nov. 2009, p.101]

Fannypack might already be sick of the Beastie Boys comparisons, but it works on too may levels to be ignored. [Oct 2003, p.104]

[A] blistering debut. [Sep 2015, p.109]

Fabulously vivid fourth solo album. [Nov 2018, p.106]