"In My Kitchen" turns on an impressively dexterous, high-speed bar, while "Gwara Gwara" (A Durban dance gone global) is at once euphoric and anxious. [Feb 2025, p.37]

Producer Ed Stasium keeps the production crisp, melodic and controlled. [Mar 2019, p.30]

The trio plough an increasingly creepy furrow over the course of this debut album. [Jul 2016, p.76]

While the latter's [drummer Gavin Harrison's] rhythms can overcomplicate at times, more often they add to the edgy atmospherics and heighten the contrasting rush when broader rock strokes are applied. [Feb 2024, p.34]

High Life has none of its predecessor's busy, over-caffeinated temperament. [Aug 2014, p.73]

"It's A Common Life" is haunted by the ghost of Snapper, a sort of Antipodean Suicide, while the likes of "I Had The Starring Role" and "What Gets Me By" recall the prettier moments of Straitjacket Fits and Bailter Space. [Sep 2013, p.95]

The development in their songwriting is dramatic. [Jul 2006, p.90]

Morrissey's rather affectless delivery drains any celebratory urge from "Grease." But "Sunday Morning" is a triumph. [Feb 2017, p.33]

Skip the sanctimonious turns by vegan singer-songwriters and there's enough here to make it worthwhile. [Dec 2014, p.83]

This lush hybrid of electronica, jazz and modern classical forms is one of the most beautiful accidents in Ripatti's long and prolific career. [Feb 2015, p.84]

Songs like “Spanish Steps” and the title track recall the lo-fi sound of her critically lauded ’90s albums, while “Ba Ba Ba” and “Good Side” embrace the polish of her critically denounced 2000s albums. [Jul 2021, p.33]

Sentimental yet experimental, ii suggests Liima could be the band Efterklang always wanted to be. [May 2016, p.75]

Occasionally, N*E*R*D edge a little closer to staccato nu-metal than fans fo their inventive music might appreciate. [May 2002, p.105]

Lyrically, he hasn't lost the Archer's edge--the sonic tenderness through which such sentiments are conveyed, however, is reflective of a wisdom that comes with hindsight and forgiveness. [Oct 2018, p.24]

The potency of Adams' guitar-playing is familiar enough, but he also emerges for the first time s a fine singer, with a deep nd bluesy growl which bears the influence of his years backing Plant. [Dec 2021, p.23]

At times they sound as if they are seeking to recreate The Clash, before suddenly erupting into jagged film-score strings (“Blue Kite”). [Aug 2024, p.32]

Certainly a claustrophobic listen, and not for the faint-hearted. [Feb 2021, p.25]

Subtle it is not, but it's thrilling, adrenaline-pumping stiff that's fun as it is angry. [Apr 2026, p.29]

An unapologetic confection of lush overstatement. [Jul 2016, p.67]

Snaxx is more informal collection of sample-based miniatures that sound like the architectural blueprints for larger hip-hop epics. [Aug 2019, p.32]

The superior [of the two albums]. [Dec 2004, p.142]

The songs on 151a are most notable for their beautiful bursts of melody and soaring tunefulness. [Jun 2012, p.158]

These essentially dour, '90s synth sounds aren't an obvious nirvana, though, but a wounded vocal sensitivity sometimes suggesting Midlake and Harp's Tim Smith, and deceptively crafted lyrics, add complexity to the prayers for peace. [Jul 2024, p.39]

The band's most orchestral album yet. [Jan 2021, p.25]

Tracks like "Reticence," "Chrome Rose," and "I Was You" don't quite live up to their off-kilter introductions, but "Exploit Me" is a magnificent mix of Krautrock drones, sluggish tom-toms and a drunken vocal pitched somewhere between Mark E Smith, Nick Cave and Shane MacGowan. [Nov 2015, p.76]

Leonard has whipped another rabbit out of his hat. The surprise is that it's his most conventional release yet. [Dec 2018, p.27]

As sublime as much of Instrumental Tourist is, it rarely fulfills that promise of improvisation, of a real sonic engagement or play, and struggles to exceed the sum of its parts.

Dan Hyndman supplies a reliably cryptic stream of absurdist prattle, though his decision to stick with largely adlibbed lyrics robs Down Tools of some of the force and focus of last year’s excellent Lines Redacted. [Aug 2022, p.30]

If Sheff's still finding the best way to speak this newly direct, loving language, its naked conviction is touchingly plain. [Jun 2018, p.33]

The psychedelic delirium of the music is all we really need to know. [Nov 2022, p.29]

Shame about the occasional guest vocals, which veer a touch drab compared to their glittering backdrops. [Jul 2016, p.78]

Arnold's voice is as rich as ever on this upbeat, triumphant return to the spotlight, crystal clear and cutting straight to the heart. [Sep 2019, p.23]

It's a breezy and easy listen, as displayed on the melodic shuffle of "Unfamiliar Sun," but there's also a deeply layered approach where stacks of harmonies and melodies interweave gracefully. [Nov 2019, p.33]

The knotty, punky, Squarepusher-style edges of its predecessor have been smoothed down, with a little too much perfumed whimsy in the mix. [Aug 2013, p.77]

Its songs are as poetically heartfelt as they are acerbic. [Jan 2026, p.34]

New Bermuda offers a tumultuous post metal that on passages of "Baby Blue" and "Brought To The Water," remind one more of the ethereal wandering of shoegaze. [Nov 2015, p.73]

The Runners Four displays intuitive melody and a childlike disregard for convention that's captivating enough to overcome any saccharine tendencies. [Dec 2005, p.116]

From start to finish it's an anti-diva joy. [Apr 2006, p.110]

Moonshine is a set piece, but “Greenway”, a nudge at The Beatles’ “Because” with rippling keys and cicadas, and the baffled starburst that is “With You” stand out. [Aug 2022, p.30]

An album that has moments of shiny, hooky, electro-disco-pop as well as moments of more reserved melancholy. [Review of the Year 2023, p.30]

"The Outer Region Of The Universe" is an appealing ambient workout, while "Co-Pilot" is an ever-mutating bossa nova. [May 2025, p.87]

Short and sweet, with an alluringly timeless analogue feel. [Oct 2025, p.32]

The Dharma Wheel channels the Allman Brothers, Grateful Dead, Crazy Horse and more in its generous spirit. [Nov 2021, p.29]

A darkly urgent "Saturnine Night" and "The Illuminator" with its wood blocks and linear beat pattern set the tone, but as "Red Sky" with its meaty, psych-folk swing shows, it's not all out with the old. [Oct 2020, p.31]

It works at least as well [as 2018's The Colorist & Emiliana Torrini] on this collection of new originals. [Apr 2023, p.38]

There's exhilaration amid the despondency, as powerful songs and a light, shoegazey sheen means they frequently soar. [Sep 2002, p.111]

This is mostly a sombre affair. [Mar 2003, p.106]

There's no sign they're running out of steam. [Dec 2025, p.31]

These deceptively simple, acoustic songs of nature, family and love, so spritely they sometimes only narrowly escape mawkishness, could be centuries old, but sound as if they're being sung for the first time. [Review of the Year 2025, p.21]

Shows Lali Puna's more adventurous side. [Aug 2005, p.110]

There are a few too many tracks here that don't quite achieve lift-off. [Oct 2012, p.74]

Thanks For Listening has the same gentle humour and musical imagination he brings to the airwaves [as host of Prairie Home Companion], although "I Made This For You" and the title track are a bit precious in their meta trappings. [Jan 2018, p.26]

An absorbing, illbient record magisterial in its power but minimal in execution, it works best as a set piece. [Mar 2019, p.27]

While the fuzz-filled punk vibe is still present and correct, there's also a hard rock thread running through Overdrive. [May 2014, p.80]

While After lacks the appealing chaos of predecessor Ripely Pin, it compensates with bright choruses that contrast with a dark, decaying lyrical scheme. [Apr 2015, p.78]

More style than substance at times, maybe, but invariably rich in promise. [Sep 2021, p.27]

If it's a little in thrall to its influences, it's not an altogether bad way. [Jun 2016, p.73]

Crutchfield's distinctive, smoky voice couldn't be more different from Williamson's softer one, yet the way they melt together on the choruses you'd swear it was fated. [Dec 2022, p.35]

The first µ-Ziq album in six years feels largely insulated from modern tends, with occasional contemporary touches leaking in. [Aug 2013, p.73]

Though it flags towards the end, The Music is, for the most part, a shot in the arm. [Oct 2002, p.110]

The Bats still trade in sparse, self-effacing indie rock, and retain a talent for wringing the most sumptuous melodies from the most utilitarian of ingredients. [Dec 2020, p.27]

Their last LP, 2014's Gamel, was their best for yonks and Nijimusi maintains that strong form. [Feb 2020, p.26]

Gentler hues are to the fore on the soft strum and harmonies of Teenage Fanclub's "Lonely Night", coming as near as dammit to an indie Crosby, Stills & Nash. They veer from the template just once, on the slow country rock of "Me And Magdalena". [Apr 2026, p.26]

Rest assured it all goes down as easy as a tequila sunrise, though Earthtones could've used more of the adventurous spirit of "So Free," a gorgeously supple eight-minute vamp. [Feb 2018, p.23]

The record as a whole is an energetic, infectious romp through trap, Auto-Tune, West Coast soul and warm balladry. [Feb 2016, p.78]

Plucking samples from wannabe grime MCs and unknown divas and weaving these into his uplifting electronica proves surprisingly moving. [May 2016, p.79]

Death Peak takes you on a journey of sorts. [Jun 2017, p.26]

They're on fine form with the hammered glam-boogie of "Eagle Birds" and the absurdly good-time "Lo/Hi," but underwhelm with the mid-tempo "Walk Across The Water and QOTSA-ish "Shine A Little Light." [Aug 2019, p.26]

The African-influenced essence of the record carries it along with grace but ultimately this is about celebrating the potential of the riff as rhythm. [Aug 2018, p.28]

This lively debut is full of fertile mash-ups. [Nov 2016, p.23]

The graceful arrangements of Owen Pallett and the pristine production of Mark Lawson, both best known for their Arcade Fire connections, ensure that the results are lovely, while the gorgeous purity of Bulat's voice glides elegantly above it all. [Mar 2022, p.25]

The arrangements - as ever - are more Les Misérables than Les Cousins, but her voice and her writing have lost non e of their chandelier sparkle. [Apr 2022, p.26]

Much of the album mediates on Torrini's new status as a mother but does so through some intensely poetic lyrics. [Oct 2013, p.75]

Tempest explores electro-dub and Four Tet-like glitch. [Oct 2012, p.87]

[B.E.D.'s] conversational neo-electroclash ditties are slight but hugely charming. [Jan 2019, p.20]

A confident record that picks up where her recent DJ Kicks set left off. [Sep 2023, p.31]

The jangly, offbeat "Ambulance Chaser" and the pretty, Radiohead-ish acoustic number "Loose Ends" both suggest that Ounsworth has retained some of his old band's arena-filling way with melody. [Apr 2017, p.26]

He shines brightest on the slower material.

The pair's keen rhythmic sense makes even the unusual palatable. [Review of the Year 2023, p.30]

Kelly's craftsmanship ensures Untouchable is a deeply satisfying 32 minutes. [Jun 2017, p.24]

For the most part it's Snarky Puppy at their jazziest, but there's still space for plenty of sweaty funk and prog-rock wigging out. [Nov 2022, p.36]

Their strongest, punchiest batch of songs to date. [Dec 2022, p.36]

The two hours and four tracks of Love In Detroit capture the mood and excitement of a Fela show during this second phase of his career. [Jun 2012, p.93]

On Subculture, The Selecter's dismay at the world is as powerful as ever. [Jul 2015, p.81]

For better or worse, no-one else is making records quite like this. [May 2016, p.82]

Concrete Desert is a seductive set-piece. [Jun 2017, p.24]

Bryant spins vocal somersaults over a deliciously slow-burning, spartan accompaniment, while several Memphis veterans add some Allman-style rock wigouts. [Jun 2020, p.27]

She sings achingly slow, self-loathing, minor-key ballads which would function well with just a clawhammer acoustic guitar accompaniment. But she transforms the rest of them into epic pieces of sludge metal. [Dec 2022, p.36]

Here is Can, warts and all. [Jul 2017, p.49]

Forgiveness Is Yours sometimes becomes too diffuse, hampered by a surplus of bold ideas that do not get all the necessary follow-through. But it Abounds with queasy pleasures all the same. [May 2024, p.32]

It's a deeply personal and poignant exploration of loss. [Jan 2021, p.27]

An intimate, unfiltered snapshot of rough-hewn excellence. [Jan 2018, p.21]

Julie takes lead on a few numbers, but otherwise this is raw, classic Childish. [May 2026, p.29]

Not as violent as Hexadic but no less unsettling, this is a strange and fascinating album from an artist who continues to evolve. [Feb 2016, p.80]

This is music that continually slips away from you even as you chase down its essence. [Jan 2013, p.80]

Is so patently wrong in so many ways that it exhibits a peculiar strain of genius. [Jun 2003, p.92]

The best electro-pop debut since La Roux. [Jun 2012, p.80]

He injects these economic songs with a modish sense of sophistication. [Nov 2017, p.35]