These songs fizz as freshly as if the group have only just discovered that combination of the post-punk pugnacity of prime Attractions with the acerbic disquisitions of a spoken-word Springsteen. [May 2023, p.28]

This crisp new full-album remix merely enhances the brilliance. [Nov 2015, p.93]

As ever, the single 44-minute track sis immersive; those coming to The Necks for a transcendent mindfulness session, however, may find it distinctly unnerving in places. [Dec 2015, p.75]

A band that couldn't ddcide if they preferred the caustic post-grunge of The Jesus Lizard or the absurdist, singalong witticisms of Half Man Half Biscuit, so choose to do both. Happily, the band have the muscular riffs and eloquence to pull off both. [Jul 2009, p.88]

It's still deeply strange. ... Crucial to its success is its keen rhythmic sense. [Oct 2021, p.25]

Reggae Film Star is a luminous beauty. [Aug 2022, p.29]

Despite the odd moment when you're not sure quite what she's on about, she still stabs like a stiletto. [Jul 2015, p.77]

In Spades is a thrillingly impassioned addition to their catalogue. [Jun 2017, p.21]

There’s a sense throughout that Bird’s head is engaged in a battle with his heart, as if aware that there’s a pop masterpiece squatting on the far horizons of his intuition.

Son's patchwork of fluttering loops and vocal delays align Molina with kindred spirits Animal Collective, though her listless delivery can dull proceedings. [Jun 2006, p.106]

This is pretty gloomy going, not rendered much easier by the lugubrious baritone in which Beck delivers his emotional autopsies, or the vague, amorphous melodies. [Nov 2002, p.116]

Mood-wise it's their bleakest yet. [Mar 2003, p.112]

Mike Mattison's gritty lead vocals are fully functional, but it's Trucks' consistently mesmerising guitar and dobro that draw the ear. [Feb 2009, p.99]

The result is a twilight world where Robert Wyatt and John Coltrane rub shoulders with Why? and Vernon Elliott. Mad, but quite magical. [Dec 2008, p.81]

A confident advance on 2012's Rhythm And Repose. [Oct 2015, p.77]

The Lemonheads' sixth album is looser and shaggier than its predecessor; his purpose beginning to waver, though essentially Dando is continually saved nu his songwriting gifts. [Jun 2023, p.47]

The rest is a warm and hilarious mediation of mortality. [May 2012, p.83]

The album is most fun when it plays up to the contours of Karen O's idiosyncratic voice. [Apr 2019, p.32]

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

It's a dynamically compelling set that taps Black Sabbath, Chic, Killing Joke, Elmer Bernstein and Paolo Conte, Mike Patton's extraordinary (six octaves) voice its focus. [Jun 2015, p.76]

The noise they make is thrilling. [Jun 2011, p.78]

A collection of great intimacy and tenderness, inspired in part by the loss of her father. This is rich, melodic folk. [Jul 2021, p.27]

There's a lot to like, and though "Pilot Was A Dancer" runs close to standard, indie folk-pop fare, the title track, with its Fairport-ish twangling and braided harmonies, and the wintery, Croz-styed "Give" compensate. [Jul 2023, p.36]

The result is digital psychedelia with eyedrop clarity. [Apr 2013, p.71]

It's a beautiful record. [Oct 2006, p.112]

Sasami's aim is clear: she forces you to pay attention. [Mar 2022, p.35]

Donovan's songs are still queerly wired, taking unexpected detours, blasting out into destructo-guitar solos, stomping T. Rex blues, and drenching acoustic guitar in slapback echo and ghostly vox. [Aug 2015, p.77]

Brothers shines brightest when Nelson spins out pithy philosophising, or hits a certain inimitable, rambling, jazzy sweet spot with his longtime band. [Aug 2014, p.70]