Man Overboard doesn’t quite scale the heights of its predecessor, even containing a stumble or two ('Girl From The Office,' with Hunter playing the cad, falls flat), but it still offers plenty.

Although Autechre;a futristic manifesto has remnianed largely static for tow decades, the xylophone massacre of "O=0" and trippy space-carnival collage "d-sho qub" provide welcome glimmers of pleasure and humour during an otherwise rigorously intellectual labraroery experiment. [Apr 2010, p.81]

There's barely a wrong-placed note on the whole magnificent album. [Jun 2013, p.81]

A promising debut.... But across a full album the monotony that fuels their material threatens to snuff out any sparks. [Oct 2013, p.65]

Seven Dials seamlessly weaves many of the best elements of Frame's past into a work of consummate craftsmanship which also references the likes of Steely Dan, The Cure, The Beatles, Bowie, Fleetwood Mac, Van Morrison and Bob Dylan. [Jun 2014, p.68]

Wrangler's LA Spark is textbook industrial electropop--nothing wildly new but at its best on "Lava Land" and "Space Ace" it's a compelling listen. [Jun 2014, p.85]

The band pursue numerous fractured trends through a breakneck 34 minutes and manages to corral them into an acid-drenched but cohesive whole. [Nov 2015, p.83]

At its heart, though, this is essentially a great pop album. [Jul 2016, p.83]

For the first time, Toth wrote the melodies before the lyrics, the result is a set of lush, free-born soundscapes, yet without any diminution in his narrative powers. [Jul 2017, p.40]

Bidin’ My Time draws from every corner of Hillman’s long career, mixing folk rock and country rock and bluegrass into an amiable sound, somehow both modest and ambitious.

Here are 10, funkily inventive delights that fuse the driving, percussive-heavy folk tradition with his own "jibber jabber," using guitar, drum machine and electronics. [Sep 2020, p.32]

Most of this album is more laudable than listenable. [Jun 2023, p.26]

It's a strikingly bold venture, and a refreshing take on the Roxy soundworld. [Apr 2025, p.29]

Take the modulated soundscapes of, say, Terry Riley or Max Richter, add some beats, more warm analogue synth arpeggios and some fuzzy vocals and you've got a close approximation of Gush. [Sep 2025, p.39]

Lurching from inspired to confounding, it's ragged, erratic, but never boring. [Mar 2011, p.94]

Passages of modish electro show that they're certainly on top of things, yet their heart remains pure pop. [May 2013, p.75]

Sherwood's two live mixes almost capture the intensity of their stage show. [May 2016, p.78]

An intriguing collection that reveals more of itself with every listen. [Jun 2025, p.31]

Essential and sublime. [Mar 2014, p.76]

The recording quality isn't the great, but the Family sound like the funkiest, most exhilarating house band you ever heard. [Sep 2025, p.47]

Watershed feels like a declaration of independence. [Feb 2008, p.87]

The premise may sound gimmicky and cerebral but the results are mostly playful, poppy and accessible. [Apr 2019, p.32]

An adept stylistic reboot. [Nov 2015, p.83]

There is less self-indulgence and more inspired engagement with the album concept on shorter pieces. [Aug 2017, p.30]

POTR are up to the challenge, delivering concise, dynamic performances a la Petty's Heartbreakers. [Aug 2019, p.35]

Another delightful exercise in musical brevity and lyrical snark. [Oct 2019, p.24]

The results range from flights of lysergic beauty on “Rainbow Ball”, “Split Screen” and “Seen” to a burst of jagged, early-days energy on “Nothing To Do”. For the first time in ages, they’re not overthinking it. [Jun 2024, p.36]

Full of hooks as stubborn as burrs. [Aug 2005, p.94]