They're one of European techno's most respected names, a status enhanced by this elegant follow-up to 2006's "Movements."

While his left-field turn may sharply contrast with what he initially promised, he's sacrificed none of his mystery. [May 2016, p.111]

Gut-wrenching, heart-rendering and brilliant. [May 2018, p.114]

This first rate box-set shines a light on the bass magus's idiosyncratic solo output. [May 2018, p.117]

Glorious stuff. [Jun 2018, p.116]

Like so much of his troubled catalogue, it disarms you with its beauty. [Dec 2010, p.124]

Perfectly balanced, 2011's So Beautiful Or So What was a triumph, which Stranger To Stranger continues. [#361, p.115]

Sounds like the work of a band reinvigorated. [Aug 2019, p.117]

Mixes melancholy and might to a rare degree. [Sep 2002, p.104]

The title track sets the tone with its exploration of heroin addiction as a metaphor for relationships, but it's "The American Scream"--a gritty, neo-gothic parable--that best illustrates Alkaline Trio's unique take on three chords and the truth. [Mar 201, p.97]

Far from spreading himself thin, the polymath composer seems more uncontainable with each release. [Oct 2018, p.108]

With each release, they tweak and slightly reinvent their wheel--and use it, happily, to keep on trucking. [Jun 2005, p.112]

Here, at last again, is the Ryan Adams of Heartbreaker - creating a uniformly strong collection of songs, singular in mood, each articulated by a voice that, whilst more lived in, remains a lovely instrument. [Nov. 2011, p. 137]

For those yet to experience Reich's unique soundscapes, this is as good a place to start as any. [Dec 2014, p.115]

Quite an achievement. [Apr 2017, p.116]

It's one which adds up to more than the sum of its parts. [Apr 2017, p.114]

It's so alluring you have no choice but to follow. [Oct 2007, p.98]

A record that unfolds like a collection of short stories, occasionally hokey but more often affectingly vivid. [Feb 2014, p.108]

Visceral, cerebral, utterly lovable. [May 2016, p.112]

Gracie's at his best, however, when dialling it down for the high-end folk of When You Go or hanging out over the ragged edge for The Death Of You & I. [Jun 2018, p.114]

Rushes to the head aside, Progress is a triumph musically, conceptually, personally. [Dec 2010, p.100]

Beautiful stuff: sunny with a sad undertow, like The Beach Boys, Beck and The Beatles put in a blender. [Nov 2003, p.110]

The odd portentous lapse and minor clunker aside, the rate of killer lines is remarkably high. [Mar 2002, p.115]

Led by a yearning frontman getting his Morrissey on, it's a debut that's boyishly and buoyantly charming. [Aug 2010, p.126]

Sampha's lyrics are clever and his voice so inherently likeable that it works. [Apr 2017, p.116]

Musically, it's more straightforward, psychedelic metal in which the sound leaps from minimal guitars to maximal sludge noise. [Oct 2012, p.98]

On this excellent record, she maps a route forward. [Jun 2019, p.109]

Classic soul opener Bet Ain't Worth The Hand sounds like the Philly soul of The Delfonics, but it's not long before we're into more up-to-date sonic shapes witht he dislocated beats of Lions. [Jun 2018, p.109]