An album of passion, wit and spirituality that, like its title, invites us not only to evolve, but to revel in our evolution. [Sep 2020, p.30]

It's a slightly exhausting but often thrilling sonic voyage. [Nov 2021, p.32]

A fair amount of cosmic fannying involved, but this is framed by some cracking songwriting. [Jul 2012, p.79]

This is a stark and often moving listen, setting her coldly operatic voice against a backdrop of billowing modern classical and wintry electronics. [Jun 2024, p.33]

Mostly, Dear Mark J. Mulcahy, I Love You sounds supremely happy to be here: it's an infectious feeling. [Jul 2013, p.82]

The whole is a total joy, a triumphant demonstration if the virtues of the music celebrated in the rollicking "It Came From The South." [Sep 2018, p.29]

Although it's an album that demands immersion, Butler does allow himself to - musically - cut loose, wielding his guitar with trademark flair on "Pretty D" and "Living The Dream". [Jun 2024, p.30]

Global Fusion at its most accessible. [Aug 2012, p.67]

A brash and confident rebirth. [Dec 2020, p.31]

There's a relentlessly macabre tension and ultimately savage catharsis to these six songs. [Mar 2022, p.36]

Wildlife rocks like rock still truly matter and isn't just so much mp3 content.

Unlike the solar-powered efforts of The Thrills or The Polyphonic Spree, they understand, like The Beach Boys before them, that the best way to soundtrack a broken heart is to drench it in sunny three-part harmonies. [Jul 2005, p.102]

The pair have come up with a finely crafted album that blurs the line between shoegaze, indie pop and goth-rock, and is as assured as it is atmospheric. [Dec 2014, p.69]

Boone's soulful presence in the Delines brings a different slant to Vlautin's characters, her voice transmitting something more hopeful and tender. [Feb 2019, p.26]

This terrific mini-album signals the arrival of an unlikely new set-up. [Dec 2014, p.76]

This take on the horrors of 9/11 could seem shallow, but he nails it. [Nov 2013, p.69]

Thee Oh Sees manage to simultaneously evoke Suicide, Them and The Fall on their latest album of echoey, dense psychedelia. [Aug 2010, p.96]

This ingenious successor to Computer World is enough to almost make one look forward to the coming robot wars. [Mar 2021, p.35]

The result is, as much as you'd expect, elegant and tranquil. [Apr 2020, p.27]

Lewis' piano still sounds as urgent and uncontained as it did whrn rock'n'roll was invented on it, and his insouciant snarl remains thrillingly feral. [Nov 2010, p.93]

It is a more energetic, and in places darker, record than its predecessor. [Apr 2015, p.82]

The solos are majestic and Barlow even contributes a couple of thumpers. Nobody does this better.

Automator's cinematic drama provides a stirring backdrop for the Doctor's prolix self-celebration, the ribald "Polka Dots," sinister "Power Of The World" and woozy "Flying Waterbed." [Jul 2018, p.27]

Round-up of 10 cinematic tracks underlining his prowess. [Sep 2020, p.46]

The results are gorgeous. [Oct 2009, p.112]

This is the album Lynne should've made after I Am.... [Nov 2003, p.120]

Great riffs and an inherent grooviness keep Terminal gripping throughout. [Aug 2017, p.26]

Where Yorkston's last album was precisely drawn, the follow-up is looser and less beholden to strict arrangements, and more willing to let the musicians dictate the pace. [Sep 2012, p.84]