It lacks many truly original hooks, but this is a nice updating of Count Five-style psych menace to file with fellow lo-fi '60s revivalists like King Khan and Dum Dum Girls. [May 2011, p.82]

Like all the best heavy rock albums, it suspends your disbelief, demands your attention and connects directly with your inner adolescent.

The lumbering "Livingston Bramble" aside, the music is elegant and winding. [Nov 2013, p.74]

The Colour In Anything is Blake's fullest and boldest work yet. [Aug 2016, p.72]

Overall there's a warmth lacking on last year's lo-fi Swim Inside The Moon. ... Elsewhere, echoes of Bon Iver and label boss Sufjan Stevens suffuse "All Your Life," his rejection of suicide, while "Time's" whistled melody confirms his latent optimism. [Feb 2019, p.26]

It feels deft and thoughtfully constructed. A deeply warm record. [May 2021, p.23]

LP number nine features meditations on ageing: “Deathbed Of My Dreams” does it in a Nashville style; “Young And Stupid” does it like an early 1970s Eurovision entry. There’s also joyous self-affirmation. ... Best of all are “Prophets On Hold” and “Talk To Me Talk To Me”, AOR masterpieces that should have been on the last Abba album. J[Jun 2022, p.25]

Here [on "Yesterday Is Only A Song"] and on the best tunes of Interplay, Ride feel wonderfully, unexpectedly, younger than yesterday. [Apr 2024, p.36]

Everything's fuzzy, fractured and out of focus, which makes it all the more mesmerizing. [Jun 2012, p.74]

The likes of "Scapa Flow" and "Rose With Smoke" are assured orthodox shoegaze, while "Tarantula" reflects a more playful, almost power-poppy tendency. [Dec 2023, p.28]

It's a gruff set of semi-apocalypic country-blues songs with twangy guitar and all manners of noises. [Apr 2010, p.96]

Delicately arranged, and sympathetically drenched in reverb by producer Jason Quever, its six tracks find him in typically hushed mood. [Feb 2014, p.83]

Flitting from sublime to the ridiculous, from the personal to the universal, and from a time before people to a time long after them, it's a mess, but a glorious one all the same. [Nov 2020, p.30]

"George Jones Talkin' Cell Phone Blues" "The Great Car Dealer War", and covers of Tom Petty's "Rebels" and Dylan's "Like A Rolling Stone" are among highlights of an album that many of the DBTs' peers would cheerfully claim as a career peak. [Jan 2010, p. 106]

Odd Blood comes a cropper at times, but mostly this is an involving album of vivid weirdo pop. [Mar 2010, p.107]

The slow-burn of "Blue" is a soaring mid-set ballad with anthemic qualities showcasing a strong sense of dynamics. That captures the defiant mood, something best heard in opener "My Blood Runs Through This Land" and the churning rage of "understanding". [Mar 2023, p.25]

Animating even the slowest songs on the album is a sense of play and possibility, the realisation that these musicians can shake off the dust and still surprise us. [May 2017, p.36]

Flutter[s] between commune jazz, zen folk and straightforward hippy rock. [Apr 2004, p.106]

The fastidiously rehearsed dementia is better sustained than on Your New Favourite Band. [Aug 2004, p.91]

Deviant, brainy re:teen angst, slightly arrogant, and they kick ass despite themselves. What's not to love? [Dec 2003, p.116]

Bejar's band--either completely at ease with or oblivious to his verbal flights of fancy--play rich, languid, bar-room indie-rock with florid bursts of guitar. [May 2008, p.94]

That [the innocence of an idyllic childhood] was suddenly shattered when Lynne's father shot her mother and then himself, referenced with unsettling dispassion in "Heaven's Only Days Down The Road," renders the album's surrounding tender moments all the more heart-wrenching. [Nov 2011, p.91]

The Nihilist feels like a collision of Gotham's manic energy and the otherworldliness that has permeated Kiwi music from Uncle Tim's Splitz Enz to Lorde. [Jul 2014, p.73]

With World Record, Young tosses things up in the air. For much of the album, he abandons guitar and with it the classic Horse sound, opting to lead on keyboard, mostly pump organ. ... Producer Rick Rubin carefully captures a live sound, a spontaneous first-take feel. [Jan 2023, p.22]

It's unquestionably a more electronic record, but the band show that they still know how to make a racket. [Mar 2025, p.33]

The gradual brightening of "Living" feels like some form of private epiphany; "Streetlights And Stars" and "Friend Zone" take on a pale cinematic grandeur. The latter proves Shires' playfulness is still intact. [Nov 2025, p.32]

Meditative, agitative and seductive throughout. [May 2019, p.32]

The 2 Bears' faith in the unifying qualities of a good rave-up has a tendency to spill over into hokey sentiment at times, but such criticism feels like pure humbug in the face of the album's unexpectedly trippy and heartwarming final third. [Oct 2014, p.65]

A cast of colourful characters liven up Butler's familiar mix of Chicago muscle and diva house. [Oct 2017, p.30]

It all sounds fabulous. [Feb 2018, p.29]

Another illustration of the breadth and generosity of this remarkable group's vision. [May 2015, p.72]

Even more commanding on the follow-up [to its debut]. [Apr 2018, p.32]

With Ring, Mesirow concocts a fractured pop that accentuates the layers of electronic composition, though her voice is the guiding instrument. [Dec 2010, p.104]

Fanfare rummages through the past in a way that will provide aural comfort food for many Uncut readers and writers but Wilson has found a way of personalising and transforming these fragments into a very contemporary music. [Nov 2013, p.61]

Her deft piano playing helps release some of the tension in her highwire act. [Apr 2019, p.34]

Intermezzo is one of Sir Richard Bishop's most welcoming collections. [Aug 2012, p.79]

Somedays is full of great, blues-tinted folk songs. [Nov 2009, p.102]

The four-and-a-half minutes of tuning that takes up the first track of this six-disc boxset signals that Live In New York a scrupulously compiled audio verite document - and there's plenty more tuning to come. [Dec 2009, p. 88]

It's her first record that could be a classic rather than just name-checking a bunch of them. [Dec 2015, p.70]

[The album] adds a newfound sang-froid to their quiet/loud approach. [May 2007, p.100]

A Dietrich pour nos jours. [Apr 2014, p.80]

Far from a series of intimidatingly empty spaces, Endless Rooms is more like RBCF’s shared mind palace, a place rich with experiences and emotion in which they’re stretching their creative legs, throwing open door after door and rushing eagerly through, to play. [Jun 2022, p.22]

This live set sees them mash the Kraftwek-ed likes of 'Aerodynamic' and 'Robot Rock' into the girlfriend-on-your-shoulders set that's seen them own 2007's festival season, at least for anyone more interested in decks than guitars. [Dec 2007, p.89]

Cements his reputation for fast, witty, lyrically dense politico-personal rhymes. [Mar 2005, p.99]

30 years on from "Chuck E.", it's a stunning testament to the vitality of her vagabond muse.

Night Music, the debut solo LP from Zombie-Zombie's Etienne Jaumet offers proof that there's more to analogue synth than kitsch retro-futurist appeal. [Jan 2010, p. 124]

Unexpectedly exhilarating. [Jun 2014, p.79]

No News more or less repeats the formula {of its 2013 debut], with equally pleasing results. [Apr 2015, p.76]

A captivating set, aided by a full band that shift is between artful, countryish ballads ("Simple," "Ride") and cabin-fever rockers ("Face," the abstract "Gem"). [Dec 2021, p.27]

The whole album, across a wildly varied and genuinely unique 18 tracks, feels like tuning in to some kind of revolutionary post-apocalyptic radio station. [Sep 2023, p.31]

There are few traces of the more liminal varieties of beauty that distinguish recent Halo efforts like 2023's Atlas, though a sense of eerie gracefulness often imbues the music here as various sonic elements cut through the inky drones like shards of light. [Apr 2026, p.33]

It's an entertainingly disruptive blast of a record with a mirrorball lure, refracting everything from Motown to early-'80s disco and funk, boom bap, '90s piano house and contemporary R&B Yet nothing is stripped of its oddness or playfulness. [Feb 2018, p.33]

Much of Suicaine Gratifaction sounded like it had been written in a mood of morose introspection, but Come Feel Me Tremble is brazenly exclamatory. [Jan 2004, p.102]

They have crafted an album that feels very much like the score for an imaginary film--an avant-garde French film, to be precise, an extended nocturne encompassing romance and its aftermath, the inexorable passage of time, and the preciousness of the fleeting moment. [Jun 2012, p.81]

Her despondency is balanced with levity elsewhere. [Jul 2012, p.74]

Notably louder than Hersh's other solo records, if it evokes anything else in her canon it's throwing Muses' furious, fabulous 1992 album Red Heaven, "Loud Mouth" and "LAX" being especially elemental eruptions. [Nov 2018, p.30]

Wiggy electronics abound, from the urgent gallop of the title track and the woozy psych-pop of “Kinetic Connection” to the cinematic orchestrations of “Slacker” and “A Quarter To Eight”. Think The Flaming Lips’ sci-fisonics given a very English twist. [Oct 2022, p.26]

There's no cathartic yelling, but feelings are certainly to the fore in eight tracks that features violin, clarinet, lap steel and piano, with a guest spot (on "Just") from ambient psychedelicist M Sage. [Dec 2025, p.36]

If Metronomy appeared glib in the past, here you'll find musical and emotional depth. [May 2011, p.91]

The lo-fi "If Only I Could Fly" captures the record's rustic spirit, but there's a cowboy feel to "Nobody's Darling." [Jun 2017, p.24]

The album can become a little too sweet--this, however, is a moment that never cloys. [Dec 2010, p.94]

The Bride is her most accomplished realisation of her wandering mind yet. [Aug 2016, p.65]

A record that comes on like a loving homage to the venerable Seattle label's gnarly rock of yore. [Jun 2015, p.80]

[It] is such an unassuming creation that the deceptively vast scale of its ambition only becomes apparent after several listens. [Jun 2006, p.103]

Nice work all round. [Apr 2011, p.86]

Tunde Adebimpe's gorgeous voice guarantees quasi-spiritual uplift even in their more obvious moments, but there are a couple of wild cards. [Dec 2014, p.81]

These rattling songs... feel like disturbing European fairy tales. [Jun 2006, p.97]

Funny, smart and so elegantly poised. [Jun 2015, p.73]

Overall, the palette is dusky, the tone understated. [Oct 2016, p.25]

Injects [Viva Voce's] cosmic American visiion with a creeping paranoia and, in places, a much heavier rockist edge. [Sep 2006, p.106]

It's the clever orchestration that elevates this above postmodern gag, all fluttering pipes and chiming guitar. [Nov 2007, p.98]

Here's To Taking it Easy is a bold record steeped in the golden, rich sounds of classic rock and country. [Jun 2910, p.101]

Phantom Radio feels like a real upping of the game. [Nov 2014, p.70]

The brilliant "Oya" places the sisters' voices front and centre, swinging from Bjork-like vocal gymnastics into a Yoruban spiritual. Elsewhere, Russell winds the pair's cajon and Bata beats into wonky boom-clap rhythms that smartly complement the romantic "ghosts" or "Think Of You." [Apr 2015, p.77]

Synths and drum machines dominate, courtesy of Epworth and producer Thom Monahan, lending Elytral a seemly patina of '80s dark-pop. [Oct 2017, p.26]

If there are few surprises, the tracks are charming, well crafted and kept to a fighting-trim 11. [Sep 2018, p.36]

This is a rich listen, strengthened by Galanin's burning focus on critical issues. [Jun 2021, p.33]

[It] revisits the chamber pop of their 1998 debut... equalling it in beauty and surpassing it in punch. [Nov 2006, p.123]

It holds together remarkably well, and has an atmosphere at least as distinctive and beguiling as that of, say, Punch The Clock or The Juliet Letters. It isn't typical Elvis Costello album, but then they never are. [Dec 2020, p.24]

Sculptor is the strongest and most assured record of their career. The songs dig deep emotionally--but critically their aesthetics are well-balanced, the voice and instruments perfectly calibrated. [Aug 2018, p.18]

These nine brief songs weave together to create a bewitching, moonlit spell. [Feb 2013, p.78]

[Blixa Bargeld is] in a whimsical mood, Mae West-flirtatious on "Come Up And See Me" and the booming "I'm smiling/From the bottom of my fair-trade soul" on the title track. Meanwhile, a delicate cover of The Tiger Lillies' "Alone With the Moon" is dispatched with a rich sonority. [Aug 2013, p.77]

This is old-time spiritual soul shot through with urgent, electric energy. [Jul 2016, p.79]

An immersive, fluid and emotionally fragile listening experience. [Apr 2018, p.30]

Evokes Watt's early mentor Robert Wyatt at his most enthralling and adventurous. [Mar 2020, p.37]

His joyous fourth album proper leaves behind the folksy stylings of his earlier solo work and instead builds on 2018's glitter-strewn Karma For Cheap. [Mar 2021, p.39]

While these dozen faithfully and fabulously Soft Cell-ish songs do not stint on paranoid foreboding, they are buoyed by an undimmed pop instinct and Almond’s waspish wit. [Apr 2022, p.35]

Overly indebted to its inspirations - among them Ghetts, Stormzy and The Streets - it may be, but the stroppy "I Bhfiacha Linne" and "Rhino Ket", a moody techno/dancehall hybrid, are hard to deny. [Jun 2024, p.36]

At their best, on "Someone Far Away" and "Give Up," the group blends pop sparkle and melancholy indie charm in the manner of The Chills. [Jan 2017, p.21]

A highly satisfying bridge between the log-cabin museum pieces of Revival and Hell Among The Yearlings and a more rockin', Basement Tapes-ish Americana. [Album of the Month, Aug 2003, p.96]

As instantly addictive as it is disposable. [Nov 2003, p.108]

Think swoonsome pop at its most non-cynical but with a left-field twist. [Aug 2004, p.98]

The pram is in the hall, perhaps, but the art remains in the right place. [Nov 2012, p.85]

A further shift away from the full-throttle krautrock of their early years into something more sumptuous. [Feb 2019, p.37]

The Vienna-based Londoner who lurks behind the Sohn alias coins a wintry brand of high-tech electro-soul on this striking debut. [May 2014, p.80]

Two decades on, the luxuriantly layered soft-rock production still sounds roomy and glossy, albeit a little ponderous in places. ... Expanded and enhanced. [Feb 2019, p.46]

Throughout, there's evident delight in lexicographical obscurity that echoes James Joyce or Will Self: no bad thing in itself, though when allied to the sometimes impermeable, abstract constructions, the results can be frustratingly opaque. [Dec 2012, p.61]

An all-instrumental set of improvised studio performances as lyrical and soulful as they are virtuosic and energised. [Nov 2021, p.25]