Sixth album Long In The Tooth burnishes the group’s analogue groove science with familiar movements of heroic, brassy swagger. [Jan 2021, p.72]

Legacy + is a unique intergenerational conversation on wax. Both halves are set in Afrobeat, while one sticks more to the tradition than the other, and the contrast is beautiful to hear. [Apr 2021, p.58]

The beats are tighter, the rhymes sharper and the subject matter more relevant. [July 2008, p.66]

Albums like this serve as a stark reminder of the UK scene’s capacity for reinvention in place of stagnation. With a start as strong as this who knows what direction Glacier will take next? Whichever way she goes, we should gladly follow. [May 2025, p.67]

It’s not often that an album comes along that feels this loaded with transformative potential. [Jul 2021, p.66]

Another thunderous slab of delicious sub-Sabbath riffage with guttural-via-brattish vocal on top. [Apr 2016, p.60]

Opener “Reverance” gives us a great deal--tremolo string flourishes and swirling synthesizers, filter gates as grand as castle keeps that slowly open up to reveal lush vegetation within--but of percussion it gives us none. From there on, the album offers up interplanetary R&B. [Jul 2017, p.62]

A polished affair which approaches doom metal with something like a pop sensibility – the melodies bring to mind Deftones or the accessible end of UK bands like Paradise Lost and My Dying Bride, though Esfandiari’s strain of gothic gloom, for all its theatricality, feels less superficial and more the product of genuine internal turmoil. [Nov 2021, p.62]

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]

Niblett takes the old quiet-loud dynamic and stretches it to unexpected lengths. [#258, p.68]

The material on the album is a constellation of soft and fragile connections between intangible forms of rock. ... Juana Molina moves “Al Sur” with propulsive singing and electronic rhythms, making the song her own before “Into Love Again” brings this lovely album full circle with a Yann Tiersenlike folk ballad. [Apr 2021, p.60]

It seems likely Buzz and company have also been listening to a fair bit of Magma and Aphrodite's child, given the interludes of unaccompanied percussion, brooding Gothic keyboards and tightly complex arrangements which result in the most consistently impressive album this line-up has released to date. [Jul 2010, p.64]

Guitarists John and Michael Gibbons tar into riffs which, for all their power, articulate a cosmic loneliness, while Isobel Sollenberger intones troubled mantras with the benighted insistence of an unquiet spirit. [Oct 2013, p.55]

Some will find Cruel Country monotonous; the patient however will be rewarded with an abundance of thoughtful, delicate, often brutally plaintive songcraft. [Aug 2022, p.60]

There's not much variety over these nine tracks, but to hell with variety when you sound this good. [Dec 2008, p.56]

At every turn it bubbles with the delight of discovery, and shows the alchemical reaction between the two studio personae coming along very nicely indeed. [Mar 2017, p.54]

The production from DJ Mustard hits like a cannonball dive into chlorinated waters, as Greedo croons his mystical pain salves, channelling Soulja Slim and Boosie if they grew up on Grape Street. But he shows his depth on the gorgeous anthem to his wife “Gettin’ Ready”. [Jun 2019, p.69]

Delivers on the forward-looking promise of The Art Ensemble’s motto: great black music – ancient to the future. [May 2019, p.61]

Her lyrics see human experience both on an intimate and an epic scale: such expansiveness is well complemented by her music, even if the dancefloor only exists within her home. [May 2013, p.56]

One of 2021’s most impressive and poignant examples of progressive rock? Damn the torpedoes, let’s go with that. [Nov 2021, p.62]

Praise A Lord is a record conceived and assembled with considerable care – literate, theatrical and elegantly audacious. [Apr 2023, p.62]

An excellent showcase of their different approaches. [Oct 2007, p.55]

The payoff comes about a third of the way in, when the spirit of Foghat makes an unexpected appearance and everything goes boogie. [Oct 2013, p.55]

Well-placed details like the joyfully absurd airhorn sample in “Pachyuma” and the phased pulsing of “Orion Song” come across as both lighthearted and profound. “Moscow (Mariposa Voladora)” is a churning, chugging dancefloor banger, textured with acoustic instruments and resonating with a timelessness that unites past and present, ancient and future, here and now. [May 2018, p.46]

There's a handful of new material, all displaying superb arranger's skill. His unusual voice has improved too, broadening and mellowing from that nervous tenor of old. [May 2013, p.58]

What J Hus has over all else this year is an ebullient ironic pseudo-oblivious pomp, the kind of breathless mongrel music you’ll only ever get from folk young enough to miss how vital it is they’re breaking all the rules. [Jul 2017, p.62]

They continue to surprise and enchant. [Sep 2020, p.52]

Where Lopatin’s earlier work often evoked the sense of a simultaneous need and impossibility of love--most notably in his Chris de Burgh sampling “Nobody Here”--the music here seems to strive for immediacy. [Jan 2019, p.70]