Its grit and graft will keep his cult following happy. [Apr 2010, p.112]

Mild existential dread is delivered over a quietly forceful musical template that owes a lot to the third Velvet Underground album. [Jan 2014, p.127]

More accessible than Animal collective, weirder than MGMT, this is otherworldly pop music to make the head spin. [Mar 2010, p.103]

The band seem to be pushing their hi-spec power-indie as far as it can go. [Jun 2017, p.110]

Moffat's half-sung, half-muttered confessionals still lurch between the pulsing beats and pensive instrumentation but the tone is now more funereal than carnal.

All told, one weird trip. [May 2004, p.102]

An intermittently potent album that feels unlikely to etch itself too deeply onto the world. [Aug 2004, p.104]

This assured, intense record heralds the emergence of a major force. [Nov 2003, p.123]

{Bejar's] fondness for drenching songs in production so muddy that they end up as little more than smears of noise. [May 2008, p.130]

There's a welcome '60s pop feel to the material, proof that Lynne doesn't need anyone else to show her how it should be done. [Dec. 2011 p. 129]

The Nihilist is a mind-melting blend of traditional songwriting and endless, restless experimentation. [Jun 2014, p.110]

Her dark theatrics dominate 68 Screen, evoking '70s punks X-Ray Spex with a call-and-response about women's commodified bodies. [Jun 2019, p.115]

2 Bears have hit a rich seam of easy-going melancholic euphoria. [Oct 2014, p.101]

His fourth album shows a continuing talent for both dynamite house beats and reframing idiosyncratic vocalists. [Oct 2017, p.105]

A ferociously Velvetsy turn from Brian Jonestown Massacre's Anton Newcombe on Istanbul IS Sleep only highlights how mind-blowing The Liminanas could be if they ventured further from the shadows. [Mar 2018, p.111]

Calexico rarely disappoint. But this is a definite leap forward. [May 2015, p.102]

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

It all makes for a strangely seamless collection, with enough moments of brilliance to excuse the lack of progression. [Apr 2011, p.114]

This latest ventures proves equally unconventional [as his collaboration with Sufjan Stevens and his Kenny Dennis EP], the half-hour running time and Cohn's deadbeat rhymes both at odds with the rap mainstream. [Sep 2012, p.111]

The follow-up isn't quite so startling [as his debut] and the horrible guitar indulgence of Dear Friend is his first major misstep, but assisted by Jackson Browne, David Crosby, assorted Heartbreakers, Roy Harper and Wilco's Patrick Sansome he's evolved. [Dec 2013, p.117]

A reminder why she's adored by many. With Palmer's dramatic piano and piercing vocals offset by lush orchestration, it's short on whimsy but long on Big Topics. [May 2019, p.115]

At 65-plus minutes' duration, Honeymoon's submarine/somnambulant vibe does rather overstay its welcome. [Dec 2015, p.115]

A fantastic voyage. [May 2007, p.128]

[A] thoughtful solo debut. [Apr 2014, p.118]

EVen without the Tron-like eye candy of their stage set it's a spectacular show, [Dec 2007, p.115]

Finds him in fine rhyming form... even if the beats aren't always there to back him up. [Mar 2005, p.104]

Thirty years since first making her entrance as the distaff Tom Waits, Rickie Lee Jones still sounds utterly unique. [Dec 2009, p. 126]

Utterly cinematic, it owes as much to Vangelis's Blade Runner soundtrack as derrick May's minimal techno. [Jan 2010, p. 120]