When approached on its own merits, the Dave Cobb-produced Be Right Here is a minor classic of the genre. [Feb 2024, p.27]

This is a satisfying mix of revised and completed '60s recordings by original Monkees songsmiths like Boyce & Hart and Neil Diamond, with new songs by the likes of Andy Partridge, Rivers Cuomo and Adam Schlesinger. [Jul 2016, p.78]

It doesn't require a lyric translator to hear the exquisite sense of regret that permeates a song like "Ha Dvash," but the sheer exuberance of the music keeps spirits soaring. [Feb 2010, p.88]

It's not amazing... but it's great. [Jan 2004, p.106]

Compared to so many noisemongers, TOD understand that restraint enables unleashed firepower to be exhilarating and awesome. [Apr 2002, p.111]

This is as good as the "soundtrack for an imaginary movie" gets. [Aug 2014, p.78]

Confess is largely an impeccable sequel to an immaculate debut. [Aug 2012, p.82]

It's the inclusion of [Disc 2] that makes this essential. [Dec 2004, p.140]

Stripped ac and stretched out, in Toral's hands these pieces become devotional as he zones in in on their essence. [Dec 2025, p.37]

A mighty feat of reinvention. [Mar 2026, p.36]

Odd missteps apart You Are All I see turns out to be one of the year's boldest, most beautiful debuts. [Nov 2011, p.81]

There's a gleeful, shonky exuberance to this debut all their own. [Aug 2006, p.88]

Sonnymoon offer a fresh and forward-thinking new voice in experimental electro-soul on this beautifully assured self-titled debut. [Nov 2012, p.83]

The title track ends proceedings on a high, with Sheryl Crow on backing vocals, a smattering of mandolin and a semi-surreal spoken interlude in which Starr sounds ever so zen. It ends, as it surely should, with a single snare shot, delivered like the most emphatic of full stops. [May 2026, p.30]

Highway Queen feels like the kind of record that should bump Lane to another level. [Mar 2017, p.28]

An album filled with similarly delicious moments. [Apr 2017, p.22]

Loose, raw, a bit funky, it illustrates the band's knack for creating new-but-classic-sounding songs and getting them down on disc with a sizzling live feel. [Aopr 2009, p.87]

Stand For Myself is a headphones album, lovingly written, arranged and produced. [Aug 2021, p.32]

The ebb and flow of Arbouretum's music, still rooted in folk but flaring into twin-guitar noise-rock, is often astounding. [Apr 2009, p.90]

The accumulative effect is transformative but focusing on the moving parts, the elaborate patterns and the mazes that constantly expand and unwind is fascinating. The stark reality of the music's often caustic infrastructure is never far from the surface; it nags and vies for your attention amid the hum. [Jan 2023, p.26]

It all hangs together, propelled by a sense of fun that, 22 years on, still pervades every note. Trot on. [Jul 2016, p.73]

Its vision of pop is deeply hermetic, caught between quiet pastoral rapture and urban resignation, Cracknell's voice a siren of sweetened melancholy. [Jul 2015, p.73]

It works because Souleyman has never been a purist, instead perfecting a kind of global fusion that is slamming and mesmeric rather than naff. [Aug 2015, p.80]

Ironic jape or not, Shangri-La captures the DFA label aesthetic perfectly, blending electro post-punk, disco and art-pop with conceptual elan, and icing the cake with dance-friendly production. [Jul 2011, p.103]

There's antique gusto, politics, wintry picking from a master, some gothic touches from Britfolk's finest fiddler, and grand notes. [Jul 2014, p.71]

The only pity is that navigating one's way around the three hours and 20 minutes of music is such a fiddly business. [Oct 2016, p.46]

On >>>, you get carried along by BEAK>'s sheer enthusiasm--cut adrift from their past, sealed off from expectation, existing entirely in the moment. [Oct 2018, p.25]

Lyrically, it's riveting, tapping into a unique Southern storytelling tradition. [Nov 2004, p.118]