Ghosts continues the work of previous albums, but nonetheless manages to be a blast of fresh air. [Mar 2012, p.57]

His drumming combines an organic sense of living pulse, but preserves a precision and sparseness that pulls it back to the rock-tick of motorik. [Apr 2015, p.63]

This is an album, and a genre, to ponder--one that remains musically rich, deep and mysterious. [Aug 2017, p.50]

An expansive record that thoughtfully integrates electronic elements. It almost feels transmitted from a parallel past – a form of retrofuturism where science fiction meets folk. [Feb 2022, p.48]

This is actually a joyful, bouncing album. [Oct 2018, p.68]

Unsurprisingly the mood is melancholy and the louche, theatrical sexuality or carnal drama of earlier albums is replaced by a battered and searching tone, striving to make sense, or failing that, some poetry or beauty out of the tragedy. The narratives take on a less devilish tone here. [Nov 2019, p.46]

Lyrically, Foster possesses both esoteric wisdom and an ascetic purity yet never wanders out of reach; she has the musical instinct of her troubadour sisterhood (Joan Baez, Joni Mitchell, Carole King, Judee Sill et al) and in the spoken word moments, the cosmic gravitas of Eden Ahbez. [Dec 2018, p.48]

Clark’s fifth album isn’t a retreat to an earlier style--if anything it’s even brighter, bolder and broader than St Vincent, even more given to IMAX worthy gestures-- but Clark does appear to have reconciled the streamlined automation of her new aesthetic with the orch pop crafting of her first three records, Marry Me (2007), Actor (2009) and Strange Mercy (2011). [Nov 2017, p.64]

The record inevitably calls to mind such seminal sci-fi soundtracks as The Terminator and Blade Runner. ...The album is nonetheless imbued with an intrinsic purposiveness which emphatically renders its sounds meaningful in excess or independent of conceptual determination. [Dec 2017, p.49]

On The Gospel, they're at their weirdest and best. [Feb 2016, p.48]

For Ulver's three-part collaboration with Sunn))), the mood is equally holy, reverential and mysterious. [Feb 2014, p.52]

Mouse on Mars's melodic power has been greater across the years, but the textural richness of Parastrophics is unmatched. [Mar 2012, p.57]

They've come back very strong. [Oct 2025, p.65]

Achieving a powerful balancing act between beauty and terror throughout. [Dec 2021, p.52]

No one, really, has taken their precise marriage of classic rock 'n' roll moves and steely cybernetic deformity further than themselves. [Aug 2014, p.53]

Limbs feels more emotionally erratic than its predecessor, and even more compelling for it, teetering between interiority and connection. [Apr 2022, p.45]

Ununiform demonstrates that Tricky has retained his sense of adventure; even at its most opaque and cryptic lyrically, his music remains hypnotic. [Nov 2017, p.64]

With an outfit like Napalm, one looks for the subtle touches, and they're present: clean vocals on "Analysis Paralysis" and "The Wolf I Feed," a psychedelic burst of guitar noise on "Leper Colony." [Mar 2012, p.58]

Black Encyclopedia Of The Air is a new reckoning of all things, an upending of the status quo presenting us with a world of new possibilities. [Sep 2021, p.56]

If their forthcoming albums match the confidence and uniqueness of Bible eyes, Night Slugs may enjoy another year in the spotlight. [May 2011, p.49]

Mostly, however, these tracks stand as pure punk or pure roots, invoking the rebellious spirit of the time in a way that, remarkably, still comes across as fresh and exciting, even nowadays when everybody tends to know just about everything. [Sep 2024, p.59]

Wildest Dreams despite its unapologetic retro stance, is a wild wide. [Aug 2014, p.58]

Raum is the sound of a band who have figured out how to write their future while simultaneously holding meaningfully to their traditions. [Apr 2022, p.50]

If takes on his own catalogue feel lazy on paper, it’d need a heart of stone to resist something like 1977’s “Materialist” which in this version is probably the dubbiest and most typically Sherwood moment on here. Most importantly, perhaps, that voice has lost none of its storied opulence. [Apr 2022, p.42]

These aren’t stoical songs; nor are they blandly defiant. They speak a deep truth about ageing, and one that spikes several more humdrum cliches: age isn’t just how you feel, but an ineluctable fact; it isn’t just a matter of numbers, but very much a felt experience, and Chapman has delivered a beautiful continuum of musical experience since he emerged in 1969 with Rainmaker and Fully Qualified Survivor. [Mar 2019, p.48]

Along with the usual guitar/bass/drums/vocals, the group have added vibraphone, theremin and back-up singers, a move that has significantly enhanced their sound and bolstered the sci-fi boogie that rolls through the songs. [Nov 2022, p.70]

Dean McPhee's guitar sound is both richly textured and strikingly direct. [Apr 2015, p.63]

It was recorded the same year and it is a fierce final epistle. [Aug 2017, p.52]