"Try To Sleep" and the Kool Keith quoting "Witches" are songs that join classics in their cannon. [May 2011, p.91]

[They're] now on their eighth album and still finding something new under the pun. [Sep 2005, p.112]

A cherry if tad predictable offering. [Jul 2014, p.71]

Utopia Defeated justifies the hype. [Nov 2016, p.26]

11 bewitching songs that evoke late-aughts hypnagogic pop, Mac DeMarco's dreamiest ballads, and a badly warped cassette of '80s-vintage dinner jazz. [Jul 2019, p.26]

A powerful eulogy. [Jun 2020, p.28]

While the lyrics largely deal in anguish and dissolution, Bachmann's settings switch between exhilarating noise ("Cold Waves" featuring Superchunk's Mac McCaughan), grand synth-pop ("Hospital") and quasi-orchestral soul ballad (the sweeping "(I'm Your) Bodhisattva"). [Mar 2026, p.29]

Similarly to Lambchop's Nixon, it weaves together new and old, soul and country, black and white, love and hate, to form an understated masterpiece. [Feb 2006, p.74]

Their tendency to overthink and squeeze every drop of pleasure from their work does them few favors, particularly when they showcase such innovative songcraft on a record like Get To Heaven. [Aug 2015, p.73]

As they've refined their technique, they've almost erased the need for lyrics, while their twin obsessions--romance and the celestial--remain constants. [Jul 2016, p.89]

A pulsating collection of disco bangers. [Nov 2017, p.23]

Candylion is a more layered, fully-realised album than 2005's Yr Atal Genhedlaeth. [Feb 2007, p.79]

After the intermission of Aerial, could this mark the real beginning of the second act of Kate Bush's brilliant career? Let's hope, like Molly, the answer is "Yes..." [Jun 2011, p.81]

An album of lonely beauty and piercing sorrow, White Chalk is P.J. Harvey back at the peak of her considerable powers.

Mr. M is bold in arts and surprisingly experimental. [Mar 2012, p.76]

He's hired JIm James, whose spiritual beliefs he seems to hare, along with a taste for cosmic rock and psychedelic blues, all of which figure on the compellingly heavy "Hey, No Pressure." [Apr 2016, p.75]

The quartet peel back the years on corrosive songs that strike a masterly balance between melody and uppity guitar noise. [Oct 2017, p.26]

Peter Silberman's half-whispered vocal melodies are more accessible than ever. [Apr 2021, p.25]

The xx duo eagerly depart from the templates that have served their band so well, thereby imparting Hideous Bastard with a spontaneity that complements the courage and candour in the lyrics. [Oct 2022, p.34]

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

With Lanegan at his stentorian best and Dulli in full confessional mode, Saturnalia is a feast, certainly--but one where the dishes are served delightfully raw.

It is an album in the original sense of the word, offering a coherent display of Auerbach’s influences.

A dense and abrasive record of astonishing precocity, which, if it has a fault, is only that it occasionally offers brute intensity in excess of the impact Pemberton's razor-sharp verses. [Oct 2008, p.87]

It's a stunning comeback that whets the appetite for an autumn tour. [Oct 2014, p.74]

The outer skein of mystical mystery shelters a clutch of slyly insistent melodies. [Jan 2019, p.21]

Richard Hawley hasn't strayed too far from a successful formula. What he does introduce is a deliberate sens e of brevity, keeping songs tight and focused. [Jul 2019, p.29]

Beast Epic is laidback and monochromatic but enlivened by its discourse. [Oct 2017, p.32]

Liz Harris's 10th album continues her slow ascent out of the appealingly murky haze of her early releases towards structured, if still frail, songwriting. [Jun 2018, p.28]