These are good songs, but they're so boldly signposted, you can see them miles away. [May 2011, p.85]

Coracle is more about a kind of glittering ambiance, one forged in a liminal space between drone, electronic Krautrock and the heady shoegaze of Ulrich Schnauss. [Nov 2011, p.107]

Trent is as solid as an anvil in his straightman's role, while Hearst is a real firecracker. [Sep 2012, p.85]

Brave, challenging and arrestingly original. [Mar 2016, p.79]

These five expansive tracks forgo punk rock sloganeering in favour of themes of mystery, sorcery and spiritual jubilation. [Jun 2017, p.34]

"Shock Out" and "Money Machine" are straightforward exercises in the sort of hellfire dancehall The Bug does so well, but there's a restraint here too, best seen in the haunted heartbroken "War." [Sep 2018, p.35]

The monotone vocal diatribes can be a little waffly, but the urgent, Bloc Party-esque thrust of "Dig In" and the addictive synthpop throb of "Prism" are incisive backdrops that keep you engaged, if not completely converted. [Oct 2020, p.32]

This is a nourishing and deeply meditative record. [Oct 2021, p.27]

They appear to have moved back into full-on Afrika 70 revivalism. [Sep 2012, p.73]

Sometimes, beats and basslines are distinct; other times, as on "Mysteries" and "Lighthouse," you just get a sense of them, as structure dissolving into mist. [Oct 2015, p.78]

A darkly impassioned mix of hip hop, art rock and electronics that connects to indigenous street music as well as to Gil Scott-Heron, The Ruts and TV On The Radio. [Feb 2016, p.84]

She approaches the material with understated expressiveness. [Sep 2020, p.32]

"Daddy Pop" has a Queen-like Break; "Jughead", post-Bomb Squad production. "Money Don't Matter 2 Night" is more subtly impressive. .... B-Sides plus intinerant sessions yielding 33 unreleased tracks. [Dec 2023, p.51]

You couldn't imagine anyone else pulling all this off with such grace and style. [Jun 2010, p.96]

Lyrically, there's little to cling onto, but it's not inconceivable a song like 'Soldier's Grin' could see them follow labelmates The Shins into indie ubiquity. [Sep 2008, p.115]

Sometimes, More is more. [Nov 2014, p.73]

Guest spots from vocalists Andrea Galaxy and Jessy Lanza make explicit the R&B influence, but the most emotive, intimate moments come when Abdel-Hamid makes her synths sing to themselves. [Jul 2017, p.32]

McCraven's label debut deploys his own musicians with Horace Silver and the rest, giving a steamy hip-hop stutter to Blakey beats already halfway there, and letting the aching melody of Kenny Burrell's "Autumn In New York" simmer under new rhythmic cross-winds. [Dec 2021, p.31]

Far from reining it in on his major label debut, he's stretching out even further. [May 2022, p.36]

The pair's keen rhythmic sense makes even the unusual palatable. [Review of the Year 2023, p.30]

A couple of tame moments should have hit the cutting room floor, but this is otherwise flawless. [Jul 2011, p.88]

An unusually exciting attempt to revitalise past glories. [Oct 2002, p.111]

The instrumental palette is more wide-ranging in a subtler, more subversive manner. [Apr 2004, p.96]

It all sounds like The Beta Band swapping confrontation for contentment. [Apr 2002, p.93]

"Ishadlak Ya Khey," featuring Doueh's son Hamdan Bamaar on full drum kit, and pops busting out some flange-soaked solos, is a pleasingly noisy, impolite fusion. [Aug 2011, p.87]

A couple of bratty, clunky bursts in the vein of the self-titled first album spoil the mood slightly. [May 2015, p.72]

While "Neon Dad" proves their aptitude for the same sort of psych-pop that Black Moth Super Rainbow use to free minds, "House of Glass" and "Crapture" suggest Holy Fuck are happier putting their rubbery grooves and vintage gear under serious duress. [Jul 2016, p.74]

Certainly it is a record of two halves, its first batch of corroded box jams smothered in hiss, including two listless cuts with Sampha. [Jan 2021, p.21]