As a political manifesto, Rawar Style is somewhat vague, yet The Eternals' impulsive, improvising music has anger, zeal and humour in its very DNA. [#245, p.56]

While Clockwork Angels is energised and intense, it neither sounds nor feels like heritage rock or a return to first principles. [Sep 2012, p.70]

An agreeable mix of electro, retro-rave breaks and thumping party house. [Aug 2018, p.66]

Once the starpower dazzle fades, it’s not always obvious who he is, but the lack of easy answers makes him interesting enough for now.

Where the album works best is in the loose, mesmerising fluency of tracks where such odd structures loses its slight air of gimmickry. [Sep 2014, p.64]

The tracks sung by Cafritz are more wired and garage punk, but these brief flashes provide contrast to Gordon's murkier shades. [July 2008, p.49]

Hegarty's eco-femism finds a much better ambassador in his songs. [Oct 2012, p.58]

The narrower focus, combined with the decision to return to Seattle’s Studio Soli, raises the thought that Earth might have, at last, orbited back to the roaring wastelands of their early 1990s work. Jump into the longer cuts here, though, and you find something that sounds less like a trip on Tibetan quaaludes, more a slow chug of whisky. [Jun 2019, p.56]

The results are pleasing and anticlimactic at once. [#240, p.57]

With Dodging Dues they’ve thrown up another seven tracks – it’s not a long album – that will sustain many a night on the road. It all feels pleasingly old-fashioned and familiar. [Jan 2022, p.64]

A tight action trio who have screwed their collective anger and frustration into a balled musical fist and let fly. [Feb 2019, p.58]

Tracks like "Steel Drummer" shade between euphoric rave and freakout energy, while "Black And Blue" has a distinct rock edge with its dark riffs and darker mood. [Sep 2013, p.63]

An album of authentic 80s nostalgia that followers of the filmmaker's canon are bound to treasure. [May 2016, p.46]

The deep funk veteran garlands Black Thought’s words with a heavy bottom, making for an experience that’s less psychedelic and decorative than Cheat Codes. Although Black Thought doesn’t stray from the tendencies that distinguish his solo material from his work with The Roots. [Apr 2023, p.68]

It’s hard to get with the tiresome self-deprecation of that album title, the way he hides his pain behind a smile and hides his smile behind a dope aesthetic on that artfully blurred cover. When Earl does choose to project beyond his navel he has a powerful, booming voice and an ear for novelty. Where his gaze shifts to the outside world he can be inspirational. [Feb 2019, p.56]

Across these tracks, the searching spirit of Virginia Wing is often challenged, its questions far from being answered – but the album feels more true to life because of it. [Feb 2021, p.56]

Her voice remains a beguiling instrument, but there's a sense that the attempt to ditch the kitsch and connect more directly is compromising the originality of her vision. [Oct 2010, p.60]

Recorded with a wilful lack of finesse, it’s nevertheless the production that gives Abyss much of its heft and intrigue. [Jun 2025, p.48]

This new collaboration with London's Heliocentrics admirably recreates a smokey 70s atmosphere. [Sep 2014, p.64]

Things get weird and heavy with “Gimme Bread”, tense orchestral gestures and disorienting delay effects almost completely obscuring Longstreth’s lyrical allusions to hunger and scarcity. When the arrangements breathe, as in the woodwind-kissed simplicity of “At Home” or the Mount Eerie-featuring “Twin Aspens”, the album achieves a fragile grace. [Jun 2025, p.50]

It might take you a few cuts to pick up on the gagaku thing. [Oct 2018, p.54]

Ultimately there's more to gnaw on here, and for all his admiration of astral jazz, the album title is apt. Ras may be gazing up at the stars, but there is solid ground beneath his feet. [Sep 2011, p.56]

Everything is warm and accessible, occasionally too much so. [Jul 2011, p.48]

Carti’s voice here sounds rough and occasionally hoarse. His famed knack for repeating phrases ad infinitum seems to lead into cul-de-sacs, and the rumbling PC beats don’t float as easily as his earlier work. But there’s plenty to appreciate on Whole Lotta Red. [Feb 2021, p.61]

As the Crow flies has a folkier feel than previous advisory circle releases. [Sep 2011, p.50]

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

Where French multi-instrumentalist Cécile Schott gained attention with her reinvention of the viola da gamba as a rhythmic instrument on 2015’s enchanting Captain Of None, this album is more ambient and interior. [Jun 2021, p.63]

The outcome is mostly a coruscating shot of tough nomadic blues, but here and there it skews into a self-indulgent liaison with a time-bound, well-worn rock sound. [Jul 2011, p.61]