A minor pleasure of the album is the beautiful way it's edited together, a gently manipulated impression of random accidents. [Sep 2015, p.47]

It’s rich fare and authentically live-sounding. [Sep 2021, p.50]

Chrystia Cabral follows up her 2021 prog meets chamber pop album The Turning Wheel with an unexpected but delightful mash-up of late 1990s radio sounds. [Jun 2025, p.60]

Foreign Body evokes alienation from a bottomless chasm of introspection. [Mar 2012, p.57]

The Sonics actually sound like they're back. [May 2015, p.53]

You might not think you need new versions of these. But you’d be wrong. [Nov 2017, p.52]

The ninth album from Wolverhampton born singer-guitarist and producer Stephen James Wilkinson is even more vague and numinous than 2016’s A Mineral Love and far better for it. [Feb 2018, p.58]

It’s an overegged pudding at times, but to its credit Versus is anything but polite; with brass and bass to the fore, Craig chips away at our preconceptions--he’s here for more than the black tie and polite applause. [Jun 2017, p.61]

There’s a weighty sense of looking back and taking stock to Venus In Leo, while simultaneously navigating a present that’s growing increasingly alien to its protagonists. [Oct 2019, p.55]

“Playing Chess” brings us to a smug, detached and ever so slightly creepy close. Big set pieces aside, however, there are gems aplenty amid the dross, from his rapport with Burna Boy on the menacing “Masculine” to a rare moment of meditative vulnerability wondering “Crazy how a murderer used to be a cuddler” on “Comeback”. [Oct 2023, p.60]

Every song on Fungus II aspires to soundtrack a twisted comic book or Hanna-Barbera cartoon about itself. Segall’s guitar and bass playing is wailing and distended while Chippendale lays down tight bursts of percussive fire. For the beetle-browed half hour this album lasts, these guys are here to party. [Apr 2020, p.63]

In Love With Oblivion is best when it's tough, primitive and direct. [Apr 2011, p.67]

Personal and political themes gestate within this gloss. They surface in full power on the giddy “Space Golf”, showering with sarcasm the absurd space escapism of xenophobic, misanthropic billionaires. [Dec 2020, p.62]

It's simultaneously the group's most successful integration of the various strands they've chased over the years and their most ambitious and expansive work to date. [#241, p.50]

Theirs is a terse music, but purposeful, and it's that quality which makes this a more engaging listen than the equally abstract cybernetic fusion of To Rococo Rot or Mapstation. [#247, p.62]

This playfulness – which tends to be overshadowed by Hendricks’s LOUD persona – continues to be one of the most rewarding aspects of listening to a JPEGMAFIA album. [Oct 2024, p.53]

Some might find the shit-fi recording (albeit aided by a keen producer’s ear), the relentless bleakness, or Del Rio’s blackened vocals to be dealbreakers. But it’s undeniable that Raspberry Bulbs are not only unencumbered by constraints of genre, they’ve forged a sound unique to themselves. [Mar 2020, p.54]

Although they stop the gap between higher profile releases, they also stand capably on their own. [Jul 2012, p.54]

The record makes you marinate in Francis' omni-loathing, and the effect is one of catharsis rather than exhaustion. [#254, p.57]

On the first, Williams engages each of Elkhorn’s members in turn. ... Williams switches to shahi baaja for the B side, casting effects-tinged tones like some cosmic fly fisherman wading into the confluence of two imaginary streams. [Mar 2020, p.47]

Darkly beautiful release. .... Halo's entropic instincts are a perfect fit for the film in question. [Mar 2026, p.50]

Thanks to Tune-Yards’ trademark genre splicing--demented nursery rhyme chanting, jerky rapping, tortured harmonising and stuttery 808 beats--Private Life shows there’s still space for playfulness amid the polemic. [Mar 218, p.55]

If there’s fun in her music, it’s somewhere between the anaesthetising effect of especially her more electric noises and the ecstatic release in her vocal, both too honest to be anything else but awkward. Fundamentally sociopathic. [Nov 2018, p.55]

Throughout, strings carry forward brief, carefully composed interludes, dipping into sound fields that recall early 2000s post-rock; pensive percussion and melodic guitars riffing in and out of focus. The compositions are painterly and precise, punctuated by chimes and deep piano tones. [Dec 2025, p.56]

Best Troubador is a joyous reclamation of song, gentle and true to Oldham’s personal, more delicate style. [Jun 2017, p.60]

Listening with a heart opened with affection kindled by Mascis's warm and defeated drawl, there's much to engage the latent Dinosaur fan looking for a still moment. [Mar 2011, p.52]

Tooth works brilliantly as a whole, each piece building up tension to breaking point and refusing to offer resolution. [Jun 2016, p.48]

It's an extraordinary and compelling celebration of a hardcore punk classic. [Oct 2007, p.71]