Throughout, she pulls no punches, her razor-sharp lyrics demonstrating a singular wit and vulnerability. [Dec 2020, p.35]

Other Lives are clearly kindred spirits of The National, but there's not a single clunky or derivative note here. [Sep 2011, p.93]

This LP is their most uncompromising yet. [Dec 2013, p.74]

One of those albums that evokes a tangible mood; in this case, somewhere adjacent to the sun coming up after a rollercoaster of a night out. As such, it's frequently wonderful. [Apr 2026, p.34]

Born Like This finds the New York MC triumphing with content rather than form. [Jun 2009, p.85]

It's an assured and heartfelt work built carefully around McMorrow's falsetto vocals. [Oct 2016, p.35]

The Superchunk frontman journeys to the early '80s, where punk was dissolving, songs were becoming introspective and straightforward rumble of rock was being corrupted by synthesisers. He does it with precision. [Jun 2015, p.78]

Most crucial is a penchant for '60s chanson's soft-focus harmonies and production values. [Jul 2020, p.30]

On first listen, Cellophane Memories sounds reliably Lynchian in its hypnagogic moans, bluesy torch songs and voluptuous slow-motion noir-scapes. But it also pushes beyond these familiar tropes, notably by layering, intertwining and tape-reversing Zucht’s sultry mezzo-soprano vocals on deliciously weird stand-outs. [Sep 2024, p.29]

Here childrren's voices, crazed yelping, psych-surrealism and Jesus freakouts combine to create a phantasmagoria that is fun, disturbing, inspired and childlike all at the same time. [Jan 2008, p.90]

Throughout, his instrument is recorded so close, it practically lassos your ear with its strings. [May 2011, p.94]

A magisterial set. [Feb 2014, p.75]

It's strictly a mood piece, complete with daffy lyrics about mermaids, bicycles and "Gypsy Tears." [Aug 2014, p.81]

[Bardi Jóhannsson's] presence is overshadowed by that of Jean-Benoît Dunckel. [May 2016, p.79]

The likes of "Maliblue Dream Sequence" and "Tonal Bath For Bubbles" positively glow, layering shimmering keyboard washes, ringing chimes and raga-like melodies to create a sense of blissful stasis. [Jan 2018, p.23]

Arguably Pond's slickest effort so far--a gorgeously nuanced set of damaged synth-funk and curdled power ballads that should finally see off any Grateful Dead comparisons. [Apr 2019, p.20]

Raw, wild, beautiful and sometimes painfully human, the results are enough to make the world a little easier to beat. [Sep 2020, p.29]

“Flowers For The Unsung” teases out some quietly pretty melodies. However, the freeform avant approach of the album is not always an easy ride; the wildly experimental playing makes it a constantly surprising listen but often one that is very heavy, dense and a little overwhelming. [Review of the Year 2024, p.28]

It's a remarkably immersive and generous album, emotionally as well as musically. [Apr 2018, p.18]

Demonstrate[s] the multifaceted yet coherent place Scott has arrived at as a songwriter. [Mar 2020, p.37]

This isn't mainstream music in any sense of the world, but it's one of the first glass-rattling industrial-noise records you could imagine getting stuck in your head. [Aug 2014, p.81]

It's real allows the band to stretch their legs a bit, to jam ferociously without looking at the time, to slow things down, to try out a few new tricks. [Apr 2019, p.27]

There's plenty of uncommon beauty in these four hours of stalagmite electronica. [Sep 2016, p.69]

A welcome return. [Nov 2022, p.29]

Rufus reins in his extravagant tendencies for a subtly shaded, seductive album that radiates warmth and contentment. [May 2012, p.84]

Outside of fashion, and as exciting as The Bunnymen's second, Heaven Up Here. [Oct 2006, p.133]

Her voice is every bit as great as her songs. [Aug 2016, p.76]

A sweetly sprawling album. [Sep 2020, p.32]