A further cover from that era, Corrosion Of Conformity’s “Loss For Words”, features alongside three previously unheard songs by the teenage group: “Methematics” stands out as a twisty prog-thrasher with shades of Voivod. It still amounts to a bit of a frippery, and one doesn’t have to look far to find a fan of the band cheesed off at Mr Bungle doing this rather than writing a follow-up to 1999’s California, but they don’t owe anyone anything. [Dec 2020, p.52]

It builds on themes and ideas introduced earlier in a clear and discernible way. ... No Era Sólida is more organic and less definable. [Sep 2020, p.49]

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]

This is the first music that feels genuinely post-referendum. [Jan 2015, p.68]

Armed Courage, while enjoyable, isn't really a record anyone's gotta hear. [Sep 2013, p.50]

Dense, frustrating, perplexing and fun on record, Demdike's sound works best when bleeding osmotically into strange visuals. [Jan 2017, p.63]

Written on a piano and organ instead of guitar and featuring a 24-piece ensemble of strings, winds and brass, -io is the purest realisation of Fohr’s pop sensibilities. [Nov 2021, p.50]

Volume 3, produced by Ben Frost, shades closer to songwriting in places, as Bon Iver's Justin Vernon and other guest on harmony vocals. [Apr 2013, p.57]

Never merely texture, just noise or dumb repetition, but always, instead, living and intelligent music. [Nov 2011, p.63]

The Caretaker's music works best as a static pattern amidst digital flux. [Feb 2012, p.56]

Borders is Emptyset’s Fury Road--both heavier and cleverer than the trilogy it follows. [Feb 2017, p.47]

Somehow the music manages to be deeply exotic and familiar at the same time. [Jun 2014, p.50]

Bachman probably spent more of Almanac Behind’s production time processing sounds than strumming strings. [Jan 2023, p.61]

As Quelle Chris reverts to esoteric form on Deathfame, one can’t help but miss the sustained melancholy of Innocent Country 2. But there are plenty of delights here. [Jul 2022, p.53]

Where the previous two explore themes around rebirth and grief, Trappes’s vocal fills Penelope Three full of redemption and hope. On “Red Yellow”, synth lines swoop and sink despondently into the mix, but Trappes’s vocal is ascendant and bold. In places, this ability to draw striking emotional clout from delicate shoegaze-y soundscapes recalls Sophia Liozou’s 2020 album Untold. [Jul 2021, p.69]

The methods of its creation are the most interesting thing about Melk En Honing, but the music has impact and staying power. [Aug 2015, p.48]

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

Big Joanie have developed immeasurably since their debut and it’s a joy to see them, if not quite reaching their full potential, then imparting a genuine sense of what that fulfillment might entail. [Jan 2023, p.62]

Children's voices soften and lift the sound, not with nostalgia but with unvarnished purity. Even the darkest tracks have this sense of movement: "Endgames" trudges on a low, stubborn pulse until bowed strings and harp flourishes nudge it into tentative radiance. The album becomes a procession, carrying its own weight into a brighter place. [Jan/Feb 2026, p.88]

A perfectly pleasant pop record that at its best recalls the likes of Glassjaw (“FKA World”) and Hurl. [Oct 2023, p.56]

It is psychedelic in the best sense of the word, evoking constant movement, but a motion that is always interior, burrowing deep into the psyche of listener and player alike. [Mar 2017, p.52]

When the beats are sparse he shines, but the album bloats in its middle with too many R&B assisted dramatic gestures and not enough dead eyed and cracked crack music. [Nov 2013, p.66]

Just as these wise, bittersweet, intimate and wry songs and poems about love and the everyday have a life of their own beyond being haunted by the Nick Drake legacy, so too The Unthanks’ quietly scholarly interpretation of Molly Drake has a distinctive and nuanced self-assuredness. [Jul 2017, p.54]

By the time you’re through to the end of the album, Negro’s precise refusal to have bullied you with his ideas means you’re happy to return to the beginning and let that sunlight in again. Central heating for kids. Lovely. [Mar 2019, p.57]

The results are gorgeous. [Apr 2019, p.54]

Infinite Love itself feels like the sonic equivalent of the iTunes Visualizer: pulsing forms, growing in complexity, before turning in on themselves and shooting off in another direction. [Nov 2010, p.62]

Oh Me Oh My is at its strongest when exhibiting an everyman quality comparable to that of his street level sculptures. [Mar 2023, p.52]

The utter rubbishness of Britain, its cruelty, inequality and blatant cultural crapness is once again perfectly captured by Sleaford Mods, a couple of middle aged blokes who are as grizzled and worn as the stuff Williamson shout-sings about. [Apr 2017, p.57]