This is one of those albums you can leave to steep. [Nov 2015, p.

It's heavy stuff, and there is a real rawness at the heart of standouts Where I Found You, Before The Bridge, Give Us The Wind and The Great Fire - all a little hard to swallow at first, but ultimately quite remarkable. [Nov. 2011, p. 128]

G Stands For Go-Betweens accords Forster and McLennan their rightful place as the greatest songwriting duo of the post-punk era. [Feb 2015, p.118]

The result is great, as Tundra reforms the duo's patent snark in his own electro-pop image. [May 2018, p.106]

He and his demons haven't come in from the cold just yet, but thankfully, Pearson's muse has caught fire once more. [Apr 2011, p.105]

Welcoming in the wider world as Goldlink's laid-back delivery flows with deceptive ease over Joke Ting's sinuous, tropical R&B, the Afrobeats-like bounce of Zulu Screams and Yard's captivating Caribbean riddim. [Aug 2019, p.111]

Where recent albums have felt more like protracted jam sessions -- impressive, if not actually exciting -- this has renewed sparkle, raiding indie-pop territory with harmonies, hand-claps and even the odd acoustic guitar.

Bewitching and hugely ambitious. [Apr 2011, p.110]

Que Aura presents his top-drawer songwriting in the form of new-wave psychedelia, smart guitar-pop and budget R&B. [Oct 2017, p.111]

A startling discovery. [Jul 2012, p.115]

Rich in texture and tone, enlivened rather than swamped by guests and made thrilling by his ability to make his hyperactivity as restful as it is relentless. [Dec 2014, p.110]

This new-found worldliness comes in tandem with a noticeable musical maturity. [Apr 2007, p.118]

Although recorded at the same time as Mothers, Absent Fathers sounds more cohesive, Earle's vocals stronger, the playing a little more direct. [Feb 2015, p.117]

It isn't any different to where she's been before, it's simply that quality levels remain uniformly high. [Aug 2008, p.139]

It's an album that makes you feel the real Florence Welch is only beginning. [Aug 2018, p.106]

It retains all the allure of the most hypnotic electronica with none of the digital cliches. [Jan 2004, p.122]

As harrowing and honest as some lyrics may be, though, the intensely beautiful Southern Sky at least offers his "crooked arms" some redemption. [Sep 2012, p.104]

With its uncomfortable candour, Under Rug Swept is a serious business.

Kaputt expresses the Vancouverite's fastidious Anglophilia, rustling up '80s pop opulence while maintaining a scruffy bohemian cred. [July 2011, p. 111]

It's a seductive, refreshing but gratifyingly purposeless ride. [Sep 2019, p.1110]

Brun's incredible voice - direct and moving - is at the centre of everything. [Jun 2012, p.117]

It might sound a bit much on paper, but Leschper's thought processes result in fantastic music--think Warpaint gone deconstructivism-crazy. [Oct 2018, p.115]

An inspired hook-up that brings out the best in both contributors [Killer Mike and El-P].[Aug 2012, p.109]

It's an impressive reminder of what made him so special in the first place. [Oct 2018, p.119]

Hints that Cuomo may be approaching some sort of personal epiphany about his place in the world. [Jun 2005, p.116]

Oregon four-piece serve up a conceptual gem. [Oct 2011, p.128]

One of 2020 most engaging new artists. [Mar 2020, p.122]

Bad As Me is as accessible as it is intelligent. At their heart, these are classic pop songs. That they're coated with his trademark wonder and weirdness makes them more special still. [Nov. 2011, p. 130]