It evokes so many emotions in a single track, and wrestling with its bittersweetness affects you in the gut. [Apr 2012, p.67]

They [Born On A Gangster Star and Quazarz Vs The Jealous Machines] can be appreciated either together or apart from each other. [Aug 2017, p.58]

Volume X [is] their best album since 200's The Red Line. [May 2014, p.70]

His bringing the audience in to the creative process only intensifies its authenticity and demonstrates his desire to emulate the endeavours of his family, his own version of working in a team that shares the labour of shifting piles of dirt and stone, or raising the foundations of a new building. [Dec 2021, p.58]

Lamentations is a gently devastating and cathartic listening experience. [Nov 20, p.54]

This miscellanea contains premonitions of Pylon’s future greatness and fills in the gaps of a catalogue overdue for reassessment. [Jan 2021, p.94]

A set of songs syruped in late 1960s and early 70s pop and rock nostalgia, yet still manage to sound unique. [Sep 2023, p.64]

The highlights are many, making the hour of its running time pass effortlessly. [Jul 2021, p.70]

Demilitarize was created in the wake of near-fatal illness – latent tuberculosis triggered by a brush with Covid – and is deeply reflective and personal. [Jul 2025, p.53]

An air of devotion does indeed hover over this music, filtering through the stately intonation of Anima Brass and the a cappella singing of The Macadam Ensemble, as well as the quiet concentration of Malone’s own playing. Yet it emanates not from the rarefied air of religious sentiment, but from the composer’s passionate dedication to sound itself, and her respect for its potential capacity to realise, as the title of the concluding piece puts it, “The Unification Of Inner & Outer Life”. [Mar 2024, p.50]

Perpetual Now has tangential relationships to house, techno, dub, ambient and psychedelic minimalism, but manages to plot a coherent and personal path between them all, with each of its four long tracks given space to breathe and expand. [Dec 2022, p.66]

An album whose sustained brilliance reveals both an artist liberated from the need to try too hard, and finally armed with more to express than sarcastic teenage angst. [Jun 2015, p.55]

The Kadanes have created a collection of songs of which they can be proud. [#246, p.62]

Pussycat is as excoriating and pitiless as anything Jenny Hval has produced to date and just as unflinching in its analysis of gender politics (the Wire-ish “Sex Machine” manages to be funny, poignant and upsetting) plus Hatfield cranks out some cathartic Ragged Glory solos (which could easily go on for twice as long as they do) and proves herself a fearlessly uninhibited vocal stylist to boot. Good work. [Aug 2017, p.61]

The pleasures of Reachy Prints are deceptively complicated, and it's another masterclass in how lightness needn't be thin or naive. [May 2014, p.72]

Each listen evokes a different feeling. At times there is a feeling of contentedness. [Oct 2019, p.55]

As its title implies, Dark Times is a total bummer, but it’s a sumptuous bummer – warm, bluesy, funky. [Aug 2024, p.58]

He introduces a dirty P-funk bassline to an endless whorl of hi-hats and swelling chords on “Ocean 1”, sounding tougher and sexier than ever, and the album’s middle section lays out long, uninterrupted trails of conga drums and Latin jazz piano, reaching a radiant crescendo on the title track. [Sep 2020, p.62]

Although this record is Rhys’s most polished to date, he does squeeze in moments of strangeness – subtle and paired down, bubbling beneath lush production and melodic arrangements. [Mar 2024, p.52]

There's an appealing openness and lack of guile to much of Sign. [#215, p.66]

Bringing further gravitas and grace to mundanity, he continues in the business of poetically detailing everyman strife and significant moments. [Oct 2019, p.50]

A hushed treasure. [Jan 2015, p.71]

The guitar duels still give plenty of heat and smoke, but they're more smouldering and linear than Comets' intemperate explosions. [Mar 2016, p.46]

The eight pieces here function as a drummer’s showcase, certainly, but Contact’s wilful limitations conceal an eclectic approach. ... Time spent immersed in Contact will reap reward. [May 2020, p.52]

He cites Frank Sinatra and Disney soundtracks as influences, and creates gorgeous music that paired with the vibrant visuals, disguises the horror within the film itself. [Sep 2019, p.56]

Balancing the 31 minute title song is “Heart And Soul” – another surprise, in that it’s contemplative and piano based, written by former bassist Derek Spaldo, who, for geographical reasons, has largely taken his leave of the band to make way for Andy Cush. It’s the epic title track that carries the whole thing though, making One Step Behind another step beyond for these Peoples. [Oct 2019, p.52]

All the ingredients required are present: sonic invention, surprise, risk taking, fun and adventure. [Mar 2024, p.56]

Almost overpowering in its anthemic positivity, Constant Future is unfashionably fearless, and all the better for it. [Apr 2011, p.58]