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

Holtkamp and Anderegg have arrived at a strain of wide-eyed Americana with roots in the ashen wastes of the Pennsylvania landscape. [Feb 2013, p.58]

The pop craftsmanship on display throughout Pangs is just the thing to make vinegary dregs go down easy. [Mar 2017, p.53]

Every knot has been planed away. It's hushed, wistful, 'cool,' acoustic, sweetly dolorous and subtly well crafted... and dull as corrective footnotes in a treatise on ditchwater. [#228, p.54]

Impressively raucous. [#240, p.68]

This is artfully bracing listening. [Sep 2008, p.55]

What's Your Sign is a brash, vigorous session that maintains discipline and freedom in equal measure. [Jan 2017, p.74]

The precision and control and grand guignol gothery are all still in place – but there’s also surprise (check the startlingly clean and gorgeous nine minute odyssey of “They Move Below”) and a palpable energy the band haven’t shown in years. [May 2022, p.55]

The songs with less specific and less contemporary references hit harder. [Jul 2016, p.46]

Let God Sort Em Out, their first LP in 16 years, might be their richest to date. [Sep 2025, p.50]

London based trio The Comet Is Coming unleash their finest yet, letting rave electronics, jazz funk and a dancefloor directed low end meet and mingle and mash, again suffusing everything with a positivist but markedly apocalyptic mysticism. [Jan 2020, p.71]

Music that feels lived in and vivid, instilled with notes that roam between lives of people on the fringes while finding magic in the mundane. [Jun 2020, p.59]

It’s less focused, more instinctive in its approach to collaboration; the boundaries it sets for itself are less rigid. This meandering work is vastly more accessible than most of Moor Mother’s catalogue, but no less cerebral and impressive. [Aug 2022, p.52]

It’s hard to believe this is the same band who bowed out with Ghost Stories. There they sounded uptight and reticent; here they are restless and free. The creative rebirth continues. Where to next? [May 2020, p.55]

Filled with ghosts; confessions; jokes; an abundance of Jay-Z features and a prodigal son offering explanations for his disappearance and return. [May 2020, p.65]

Accelerator captures a confused, jokey arc of the duo's trajectory that hasn't aged well in the 14 years since its release. [Dec 2012, p.70]

Despite being busy, Miri isn’t crowded. Kouyate has returned to a more acoustic sound after the electrified Ba Power, and his ngoni structures the songs with clarity and poise. [Apr 2019, p.68]

The music on Old Star is not black metal, stylistically speaking, but it nonetheless telegraphs Darkthrone’s cackling, sardonic grimness so as to transpose a blackened atmosphere into speed metal riff salad, epic/trad doom and frequent moments that call up Celtic Frost’s hallowed splicing of iron and velvet. [Aug 2019, p.64]

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]

An album as complex as this encourages listeners to reflect on themselves. [May 2021, p.46]

At least the fusion here doesn’t have the overly respectful politeness of similar multinational projects, with the guitar noise and roaring likembes providing aural grit. By the middle of the record, though, the shorter studio tracks shine with low-key brilliance. [May 2022, p.44]

Ultimately, pulling apart Everything Squared to discover its workings is like trying to dissect a cobweb: nothing is the central focus yet every gossamer-light part is spun with perfect precision and tension. [Sep 2024, p.53]

There's a great danger in finding beauty in suffering, but this album takes that risk and reaps great dividends. [Mar 2011, p.54]

There are no radical leaps forward from the previous album, but that matters not a jot. The soil in this territory is rich, the flora is fragrant, and the echoes of the past harmonise together like happy memories. [Dec 2017, p.51]

Nikki Nack is a terrific album with charm and invention to spare. [Jun 2014, p.58]

The music is gentle but ominous, and it’s hard to be sure which impression they want to linger. “Read The Room” and “Teleharmonic” are more conventional rock songs; the former in particular could have come off any 21st century Radiohead album. [Mar 2024, p.52]

The result lack some of the swarming, piercing detail and vertiginous shifts that give so much drama to late Scott. At the same time, it mostly does away with that haunts latter-day songs. [Oct 2014, p.51]

Idiology refuses to cohere so completely that it plays out as part of Mouse On Mars's very approach; the duo hop from style to style, treating them like so many stepping stones to no destination in particular. [#206, p.72]