Nothing here sounds forced, and Bailiff's continued use of effects doesn't so much obscure as communicate the heartfelt content of her songs more effectively. [Nov 2012, p.70]

Channeling her raw, unflinching energy with the help of a host of collaborators, the album incorporates rap, live instrumentation and a range of bpms, murmurs and screams, forming an aural documentary of sorts. [Jul 2025, p.53]

Thankfully, Underneath The Pine burns brightly at both ends. [Feb 2011, p.51]

This album is not about re-using their old sounds. Most of the tracks offer something different and work well to complement the story being told. [Sep 2019, p.54]

A total blast from start to finish. [Dec 2021, p.59]

Effervescent retro fun with a core of righteousness. [Nov 2013, p.66]

Their second album offers something new and exciting. Their music is intricate and complex but also intense and fierce with bold, contrasting sections. [Aug 2021, p.55]

It is an utterly twisted delight. [Feb 2012, p.68]

The resulting blast of raw energy successfully sucks the air out of the room to leave a hard rock sound that has been stripped to the bone – in a studio performance that deserves to be lauded as the UK equivalent of The Stooges’ Metallic KO aftershock. [Jul 2025, p.61]

A terrifically engaging collage of incompletion and one of the most blazing returns of 2021. [Dec 2021, p.59]

Will To Be Well has a vivid inner life. [Aug 2014, p.49]

The sound sources themselves are not of intrinsic importance – it’s what the musicians do with them that matters – but in opening up these questions, these wonderings, Under~Between does much to create its imaginative worlds. [Apr 2021, p.51]

With mute on, Smith can project a tender fragility through a single lingering note, reminiscent of Miles at his most thoughtful and noirish circa Ascenseur Pour L'Echafaud. Smith's more strident statements convey an emotional rawness. [Apr 2016, p.65]

Banned is brimming with great ideas and fascinating sound – moments of gorgeous melodicism and soulful playing, all dressed in vivid sonic poetry. Lightman and Jarvis’s voices blend, stack and play off each other beautifully. [Aug 2021, p.58]

Propelled along by Berthling’s beefy basslines and Werliin’s clockwork precise percussive taps and beats, the fine details of the group’s sound emerge from Ambarchi’s dextrous and chameleonic guitar flourishes. [Jul 2024, p.46]

Whatever your take on Tibetan Buddhism, this is done with powerful sincerity and musical sensibility. The Albanian born Kodheli in particular does a remarkable job, and I defy anyone to listen to Anderson’s voice for an hour and not become a better person. [Oct 2019, p.48]

Diggin’ In The Carts is the most inventive video game music compilation in living memory. [Dec 2017, p.67]

This may be a mini-album, but it's so well turned, so successful in completing what it sets out to achieve that, far from marking time in his discography, it could end up being one of his key releases. [May 2008, p.55]

A poised and playful opus of 11 tracks dominated byt the sound of maxed-out 1980s 8-bit videogame soundtracks zapped 300 years into the future. [Mar 2016, p.47]

By no means a vintage JJ Cale record, but one with much to enjoy and a fresh chance to hear his songs as he originally heard them. [May 2019, p.48]

The reason it all works is because with repetition and familiarity comes discipline and rigour--and Wire still have a lively and open relationship with both of them. [Feb 2011, p.57]

Strange and seductive. [Oct 2024, p.48]

Fans will find things to love here, I’m sure. But Savage Young Dü won’t be making any converts. [Dec 2017, p.69]

Transcending its function as a score, this music works as a collection of instrumental vignettes, individual yet circular in structure. [Nov 2011, p.64]

Despite the unorthodox weaving of disparate threads of material in evidence, there is harmony and majesty here, commensurate with the awe-inspiring scale of Inarritu's film. [Mar 2016, p.48]

The End Of Radio’s cache of 1994 and 2004 John Peel sessions admirably bucks expectations even as it serves up multiple reminders that Shellac are a crack live unit equipped with airtight panic room ragers. And while singer/guitarist Albini takes care to toast BBC DJ Peel, who died weeks prior to the 2004 sessions, the charge here lies in hearing Albini, drummer Todd Trainer and bassist Bob Weston improve upon and deviate from the studio recordings. [Sep 2019, p.62]

This is music for pleasure now. [Mar 2016, p.49]

Pioulard's work is a remarkably effortless cohabitation between bedroom electronics and wistful songwriting. [Dec 2008, p.64]