It’s just five tracks, barely half an hour of music, but worth the wait in gold. ... Particularly on the radiant “Make Lovely The Day”, where she’s accompanied simply by Steve Hackett’s fluttering acoustic guitar, it’s like hearing the greatest British singer of her generation for the very first time. [Jul 2022, p.33]

Savour all the strangeness, the power and the glory that fill the present. [Oct 2019, p.22]

It's compact, often menacing strangeness has its own beauty. [Aug 2013, p.71]

It can take its place alongside Live At Leeds, Rock Of Ages and Wilco's more recent Kicking Television as a live classic. [Nov 2006, p.104]

It's a stunning performance, drawing fire from Smith's stentorian performance, providing the ballast for the voyage of her Rimbaudian drunken boat. [Aug 2008, p.104]

Keene's career-best album. [Dec 2011, p.89]

A confident take on sleek, horn-powered Philly soul with a hunt of garage muscle. [Feb 2015, p.78]

Seattle three-piece Night Beats swoop into Who Sold My Generation oozing confidence. [Mar 2016, p.77]

The warm interaction between Brian and his bandmates on these recordings really does cast a much misunderstood period of The Beach Boys' career in a new light. [Sep 2017, p.44]

Attempts several tasks at once - and pretty much delivers on all of them. [Jan 2021, p.47]

This is pulverising cacophonic stuff but it's also considered and atmospheric. [Feb 2021, p.25]

An all-instrumental set of improvised studio performances as lyrical and soulful as they are virtuosic and energised. [Nov 2021, p.25]

Dorothy Chandler is the one to get; the 8+-minute “Sugar Mountain”, with numerous spoken-word digressions, is Neil at his most hilariously droll. [Jun 2022, p.43]

A bold endeavour with some genuine thrills. [Nov 2022, p.35]

An album that has bite and snarl but also a wonderfully woozy and unfurling sense of groove. [Jun 2024, p.36]

Gently irresistible throughout. [Aug 2024, p.31]

Stung! is a detail-rich trip as warm as it is wiggy. [Aug 2024, p.39]

From the stripped-back acoustic touches on “This Will Go On” to the distorted vocals and gritty overdrive guitars of “Leaving Umbrella”, it’s a pleasing yet ever-shifting journey to be taken on. [Jul 2024, p.35]

A potent, heavy distillation of everything the group have done. [Aug 2023, p.30]

Such a heady, high-octane swirl that, perversely enough, you often forget you're listening to a Madonna record. [Dec 2005, p.102]

An enduring tenacity runs through Works For Tomorrow, one of the best and feistiest entries in their catalogue. [Sep 2015, p.73]

[A] profound, funny, intricate album. [Sep 2016, p.63]

On 'The Colour Of Three' and 'Glide,' Fennesz once again proves himself a match for the Kevin Shields of 'To Here Knows When' or "The Coral Sea." [Feb 2009, p.80]

Suffused in both the dread mortality inspires and the peace that comes with accepting its inevitability, it simultaneously addresses the effects that the passing of years has on one's relationships and the compromises these demand. [May 2016, p.66]

Daniel takes care to keep things minimal. [Jan 2017, p.23]

They still sound epic and unusually angry. [Oct 2025, p.31]

There's a tendency to drift rather than fully engage, but... "Wolves" and... "Thin Blue Line"... dazzle with poetic imagery and invention. [Apr 2006, p.102]

In ditching the band ethic, they've tapped into the finest folk gothic traditions of death, suffering, misery and hardship and fashioned a paradoxically uplifting, transformative record of extraordinary power. [Album of the Month, Jul 2003, p.110]