Whether reworking Steve Earle's 'The Mountain' or the traditional heart-tugger 'The Blind Child,' it represents a small yet very real personal triumph. [Dec 2007, p.121]

For this stunning first offering South London producer Derwin Panda connects organic harmonies of Noah Lennox's Panda Bear project with Four Tet's dizzying cut-ups. [Nov 2010, p.109]

A record that twists in thrilling shapes but rarely gets tangled. [Dec 2018, p.111]

Even if diverse moods elude them, they channel disenchantment superbly. [Jun 2019, p.108]

It sets out the stall for Tinariwen's most rewarding, mesmerising effort to date. [Sep 2011, p.118]

His second album evokes blade Runner's stylish futurism, populating it with Spaceape's paranoid poetry and drowning clean lines in tape crackle. [May 2011, p.119]

His knowing delivery is laboured and the relentless schmaltz proves difficult to stomach over a whole album. [Nov 2007, p.141]

There's a naivety and nostalgia to his evocation of woozy times on Northern beaches that is uniquely loveable--the perfect music for a summer's day. [May 2008, p.140]

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

A grippingly dramatic latterday-Leonard-Cohen-alike near-masterpiece. [Oct 2014, p.117]

It's a tough listen--Lotic's aural trademark, a kind of restless arrhythmia, can be exhausting--but pays off with dazzling highs such as Bulletproof, the blueprint for a reconstructed avant-pop paradigm. [Aug 2018, p.113]

Truly, Believers is nothing short of divine. [Dec. 2001 p. 123]

Their 16th LP is their most challenging to date. For all the fine musicianship and vaulting ambition, though, there are lengthy longueurs. [Oct 2015, p.111]

Spidery tendrils of sex-and-drugs-related dread curl around dramatic synth-pop and twinkling R&B, Yet there's also a batch of tracks that draw from bombastic, slightly tacky '80s pop - a warm, funny and wholly welcome diversion from the stylish but sterile bleakness that remains Tesfaye's calling card. [Jun 2020, p.106]

An oddity for sure, but much too good to be restricted to specialist alt-rock record retailers. [July 2002, p.122]

A stoned gas. [Dec 2003, p.123]

Us bristles with huge choruses and idiosyncratic lyrics, albeit suggesting that Pet Sounds is his record collection. [Apr 2003, p.111]

As feral and ferocious an album as they've made in years. [Oct 2001, p.130]

Freaky electronica from West Coast bass maestro. [Oct 2011, p.130]

This is a thrash of real poise: precise, inventive and recklessly fast when necessary. [Nov. 2011, p. 135]

His gently intense third album is sometimes breathtaking in its melancholy sweep and songwriting skill, and always absorbing. [Mar 2013, p.96]

Externalising her feeling with space and power, I Awake gives everyone's inner life its due, the personal rendered universal. [May 2013, p.95]

Wed 21 is a great place to enter Molina's world, but doesn't tell fans anything they don't already know. [Dec 2013, p.110]

Easily the best Welsh language record since the Super Furry Animals' Mwng. [Jul 2014, p.100]

Georgiadis and his crew have all the chops and charisma to pull this lunacy off. [May 2015, p.114]

Understated but always adult record, but Aves's guitar twinkles across these impossibly catchy tunes and his voice's warmth masks its sometimes barbed content. [Mar 2016, p.106]

Out of disappointment and distress, Elbow have crafted another brilliant album. [Mar 2017, p.104]

A brisk 11 tracks and not a duff moment on it. [Summer 2018, p.106]