Several tracks differ little from versions on their 1987 Flying Nun debut Brave Worlds, but the instrumental rarity "Moonlight On Flesh" brings a welcome expansiveness redolent of a more modest Echo And The Bunnyman. [Dec 2014, p.57]

Gorgeous string arrangements, sax and synths give Birthmarks a palpable sense of encroaching mist. [Apr 2020]

A feast of buried treasure, a flickerframe parade which continually offers up magical fragments of sound, revelatory and transitory in equal measure. [#230, p.46]

Mystical, alluring and straight from the heart, We Are Together Again cements Oldham's reputation as a major force in the singer-songwriter tradition. [May 2026, p.60]

A resplendent albeit slightly cloying selection of meticulously arranged songs, bloated with instrumental detail and performed in a way that makes the sound like a revived soundtrack for some old, forgotten art house movie. [Oct 2014, p.61]

[The] precisely arranged layers of keyboards and guitars have as many behind-the-door delights as an advent calendar. [Oct 2013, p.46]

Cinematic, otherworldy landscapes and expert playing aside, there's something else to the album. Anderson flips expectations of where refrains or rhythms might go. [Jul 2016, p.46]

The Footwork moves might be hard to master, nut there's every chance your brain will o a jig to this. [May 2012, p.66]

It’s darkly, powerfully feminine, exquisitely produced and haunted as fuck; maybe the best record she’s ever made. [Nov 2021, p.50]

Accompanied by the group that toured with him for his 2022 YTIJA38 album, together with contributions from a select group of musicians. Their combined improvisational skills give Callahan the room he needs to expand upon how he throws his words out in songs - at times he comes across like a resurrected Lou Reed or a Van Morrison in full Astral Weeks flow. [May 2026, p.60]

The intense volume and solemn pace of the music is given extra weight and dimension by Scheidt's extraordinary vocal. [Oct 2014, p.61]

This is dance music, but not as we know it, and a delight to experience. [Oct 2013, p.47]

Swoops and swirls of tape chaff and manipulated sound effects alternate with the kind of beguilingly wistful, haunted folk we've come to expect from Tucker, brilliantly complementing the album's moments of abstraction. [Mar 2012, p.65]

Whether with Supersilent or on his own, Arve Henriksen has demarcated his own world of sound, communicating in ways that are sometimes inscrutable but always deeply felt. [Jul 2017, p.53]

Littered with fragments of found voice recordings and beefed up with pumping guitar riffs, Attempted Martyr takes no prisoners and, in the spirit of the group's origin state, efficiently kicks out the jams. [May 2026, p.61]

The music is a fluid mix of acoustic instruments and studio slickness, all recorded under lockdown conditions but mixed seamlessly, and while the lyrics are earnest, the songs are joyous, not sombre. [Jul 2021, p.60]

One has to look back to the golden age of the West African guitar bands to find this level of complexity executed with such brazen confidence and ability. [May 2015, p.59]

It may lack subtlety but it sounds incredibly vital. [#229, p.68]

At over 22 minutes, it’s ["The Offender"] one of two side-long pieces and could just as easily have gone on for an hour, or all night. ... The short pieces are just as good as the long ones. [Nov 2021, p.52]

The disc's closing one-two punch of "white Electric" and "Sundome," render Glass Drop a triumph, and a major evolutionary leap. [July 2011, p.44]

Orchestra Hits is the truest iteration of Rice and Schrader’s aesthetic to date. By polishing these songs, buffing them to relative shininess and adding serrated electronics, their emotive impact and melodic drama are greatly magnified. [Oct 2024, p.60]

A lifetime’s pain and a decade juggling mixtape fame with his trap life erupting in one magnificently choreographed molten flow of poetry. Not that it’s all full blast, Potter comes with the widescreen vision of Scarface or Ghetts, stepping back as necessary, philosophically patient. [Jul 2023, p.65]

“Exactlyfourminutesofimprovisedmusic” is one of the highlights on Blow, not least because it toys so wittily with ideas of genre and song versus freedom. [Jan 2019, p.70]

More than just a treat for both bands' fans, this is a genuinely surprising and brilliant collaboration. [Apr 2026, p.51]

At times 50 swerves near to MOR Americana, but Chapman’s guitar playing, the bedding of every track, bristling with thorns, won’t let it. [Jan 2017, p.61]

Although the hard-hearted and selfconsciously cool may dismiss them as the avant folk scene's answer to Crosby, Stills, Nash & Young, that's no reason to deny one's self the joyous singalong harmonies of 'Don't Be Afraid, You're Already Dead." [Oct 2007, p.71]

It's simply clean, so the outstanding performances come over strongly. [Oct 2013, p.49]

Nomad is well-name--but what's most striking is not its diversity, but its coherence. [Dec 2008, p.73]