The welcome brevity of most tracks gives Snaith even more room to vary tempos and textures. [Nov 2022, p.28]

Marnia tones down the more extreme histrionics that made earlier albums and acquired taste. [May 2013, p.78]

The Spinning Top, a really very enjoyable record, displays some of the finest aspects of the guitarist’s talents, but chief among them, those that pertain to Coxon the folkie, and acoustic guitar stylist.

The results are extraordinary. [May 2013, p.76]

The band continues to elevate themselves into one of the country's finest pop exports. [Jan 2023, p.23]

There are many wise, deceptively simple insights on this wonderful album. [Jun 2015, p.82]

The seariung guitars, walloping drums and emphatic double-tracked vocals have determined power and character. [Mar 2010, p.81]

As the music spreads, and the sound engrosses and uplifts you, the tacit message feels humble and lightly worn: one of consideration, empathy and collective strength. [Feb 2023, p.30]

This is much more than the usual retro-action.... DJ Shadow remains elusive to the end. [Jun 2002, p.127]

Undeniably the work of a modern underground pop maestro. [Apr 2002, p.113]

It's a tender manifesto of self-doubt, a shout fading into a murmur. [Jan 2018, p.16]

Studio 68! return with full-throated Devonian Dani Turner adding a soulful garage twist. [Mar 2026, p.37]

The result is consistently thrilling and uncompromising music. [Aug 2023, p.28]

A bit Mariah Carey on paper, but startling in practice. [Dec 2012, p.77]

These articulate odes to pop's past strike the right balance between carefully studied craft and melodic inspiration. [Mar 2007, p.83]

The Mix-Up is the best record collection ever thoroughly digested and re-imagined by a bunch of guys in love with sound.

Dig deeper, though, and what we have here is a record more in line with the excellent, vengeful Americana of frontman Michael Gira's latter-day Angels Of Light fare. [Oct 2010, p.106]

Heavy Love is a supremely self-confident record. [Mar 2015, p.85]

Probably the closest anyone has come to capturing the 40-year-old virgin spirit of the seminal Modern Lovers album. [Mar 2015, p.84]

Analogue synths and electronic drums combine with distorted tribal chants to darkly compelling effect. [Apr 2014, P.77]

Disparate but cohesive. [May 2015, p.69]

A guilty, gleeful indulgence. [May 2004, p.93]

Much of New York still resonates over 30 years on. ... The new remaster is crisp - it's hard to mess with the original's direct, unadorned musicianship. ... What this second disc [of live tracks] demonstrates is the quality of Reed's New York band. [Nov 2020, p.44]

Love In Exile stands as a worthy summation of the trio's alchemical live shows. But there's enough here to dangle the promise that this trio formation could run and run, and this remarkable collaboration is hopefully just the beginning. [May 2023, p.33]

The twin voices of Jonsi and Andersen make for an eerie contrast at times, with "Stendur aeva" a ravishing, multi-faceted highlight. [Feb 2021, p.35]

Bachman proves himself an extremely resourceful player, as well as a masterful storyteller. [Dec 2016, p.25]

An LP that's uncharacteristically respectful of the traditional country and hushed folk idioms that make it up. [Nov 2011, p.81]

Mostly the mood is dark. Kinda seductive, too. [Jun 2006, p.120]