Evam Caminiti and Jon Porras' third album lumbers slow as Earth's stoner rock, but throws its arms open, in a slow-burning ritual, to the infinite, star-flecked space above the Californian wilderness. [Dec 2001, p.85]

The rewards are high. [Mar 2016, p.73]

All up, it's a quiet knockout. [Oct 2018, p.37]

It’s a big, bolshy set, slightly dated by its industrial-rock dynamics, but there’s no denying the Depeche Mode-ish “Godhead” or (especially) the giallo-ish critique that is “A Woman Destroyed”. [Jul 2021, p.27]

Lamp Lit Prose is another outstanding chapter in what is shaping up to be one of the great 21st-century musical odysseys. [Aug 2018, p.29]

It doesn't always Gel. But a horn heavy take on the Stooges' "Dirt" is satisfyingly ballsy. [Jul 2012, p.70]

Here he bends the two impulses on a dark, pulsating album that sits alongside other neo-industrial work from Raime and the Haxan Cloak. [Dec 2013, p.74]

Like all of his work, it's thoughtful, humble, introspective, funny and endlessly digressive. [Dec 2015, p.72]

[A] low-key, often gorgeous new project. [Jun 2016, p.79]

Smash The System is looser, punchier, a surrealist pop masterpiece. [Nov 2016, p.28]

It's a thoughtful, profound and intensely beautiful late-blossoming career highlight. [Nov 2016, p.30]

A towering success. [Dec 2016, p.32]

Gangster Star is a light, trippy confection, reinventing R&B with rippling electronics and slippery, Prince-like funk. [Aug 2017, p.31]

What might feel somewhat reheated is saved thanks to Dal Forno's poise. [Jan 2020, p.25]

There are writing collaborations with the likes of the Chemical Brothers on the beautifully woozy and remarkably tender “Ballad (The End)”, which further serves to hit home the increasing breadth, scope and versatility Owens possesses in her far-reaching electronic compositions. [Nov 2024, p.41]

Like a blurrier version of Tame Impala's Lonerism, each listen reveals further pleasures. [Sep 2013, p.91]

The Decemberists' most immediate and outgoing album. [Feb 2011, p.76]

An affecting, lyrical record that makes you feel blessed for not having lived through it, but wiser, so graceful for the ride. [Oct 2012, p.74]

It offers astutely resonant personal ruminations at the dame time as honouring Baez's enduring search for material which speaks to the social condition of the age. [Apr 2018, p.25]

There's nothing fussy about the way Chatham County Line continue to go about their business, their acoustic music occupying the sweet spot between Del McCoury and The Jayhawks. [Jan 2017, p.22]

The album is a loose concept piece with a watery theme, but it's the infectious melodies and powerful vocals that stand out. [May 2019, p.27]

The blend of early Cure and gnarly grunge of "Soft Like A Flower" produces an indie-ish racket, the dance pulse of "Wild Times" and the smoky brass curling around "Golden" show new facets to her sound that work just as well. [Nov 2023, p.26]

It's excellent stuff. [Oct 2015, p.75]

His self-deprecating humour and goofball vocals leaven these dark songs about mortality, confusion and alienation, lending both levity and gravity to the staticky guitar riffs and soaring choruses. [Aug 2018, p.28]

The execution falls vexingly short of ambition, principally because a little of Darnielle's limited voice goes a long way. But the best of the songs are great. [May 2011, p.93]

[Hate For Sale returns her] to the totemic sounds of the early Pretenders albums, trusted and familiar territories. [Aug 2020, p.31]

The kids know where it's at, and so, in this career-high purple patch, does Paul Weller. [Apr 2012, p.69]

Mann's striking vocals, empathetic and emotional, weave through anxiety and depression, crisis and loss. Melodic arrangements abound. [Dec 2021, p.29]