Five years away hasn't damaged their ability to wow and Hesitation Marks puts Trent Reznor's soundtrack albums into context; here, he sounds at his very best and right where he belongs. [Oct 2013, p.108]

Jannis Noya Makrigiannis clearly has his own agenda allowing his haunting songs to develop at leisure. [Apr 2012, p.106]

A big talent but no Billie Holiday. [Sep 2013, p.102]

These are songs that do indeed seem to move through another era, from the delightful mournful I Can't Listen To Gene Clark Anymore to the pulse of Roy Orbison beneath Lover Release Me and Dream Dream Big In The Sky. [Nov 2018, p.108]

Tennessee Pusher pushes their envelope further still. [Oct 2008, p.149]

Shaver's always been a tough guy making trouble on the edges of a Nashville that values slickness. [Oct 2014, p.119]

Trux life feels more brilliantly warped than ever. [Apr 2019, p.114]

Musically, she delivers that desired top-down, sunny LA drive-time feel. [Jul 2015, p.100]

A collection of songs of pleasing weight and completeness, their musical joints expertly dovetailed, their detailing crisply hand-carved. [Jun 2016, p.108]

This debut collection of lo-fi chillwave-esque electronics and introspective song fragments locates itself deftly between Animal Collective's strung-out post-rock and the drum machine-powered sketches of Casiotone For The Painfully Alone.[Dec. 2011 p. 137]

A dreamy, atmospheric record. [Oct 2012, p.98]

Dumb Flesh strikes a fabulously oxymoronic tone: euphoric dread. [Jun 2015, p.100]

These songs coalesce into visionary rabble-rousing. [May 2020, p.106]

The result was a record stranded between the two [mainstream or underground cool], hummable, but too quirky to cross over. [Nov 2009, p.101]

It's a decent enough introduction to Antony & The Johnson's early works.... Turning bursts into colour on the accompanying DVD. [Dec 2014, p.106]

At times, it's too mellow. [Summer 2019, p.108]

More subtle delights from the bearded Mr. Beam. [Feb. 2011, p. 117]

A record that occupies the exact mid-point between the ghetto sass of her Puff Daddy-produced debut and 1999's poised, soulful Mary. [Oct 2001, p.117]

A joy from start to finish. [Dec 2003, p.124]

[His] gravel-like vocals envelop the album, while his well-travelled eyes ensure the lyrics are filled with knowing experience. [Mar 2004, p.109]

They've produced a demanding slice of music, brilliantly out of sync in an age of quick fixes and plummeting attention spans.

There's a pleasing mundanity to their lyrical scope. [Feb 2020, p.115]

It feels like a coherent vision, even if it occasionally spills into narco-whimsy. [Oct 2016, p.107]

The deeper emotions being stirred this time around fans out to several other highlights. [Mar 2013, p.106]

The No. 1ers' frenzied, hypnotic soundwhirl of old is leavened by the addition of precision-tooled beats and a shiny top-coat production. It works magnificently on the propulsive Yambadi Mama, yet less so when the motorik thumb pianos are left virtually unaccompanied. [May 2016, p.111]

Immediately satisfying. [Jun 2005, p.120]

Though Matmos are undoubtedly the Willie Wonkas of ear candy, just occasionally The Civil War gets too anal. [Oct 2003, p.109]

Gallows is less significant than its predecessor, but it often sounds more urgent. [Oct 2012, p.100]