One of Amos' most deeply felt, spiritually astute and finest albums. [Dec 2002, p.138]

Booth's increasingly Morrissey-esque voice has a richer and more expressive timbre these days, even if the band's loose, liquid melodies sometimes lack focus. [Oct 2010, p.97]

The visionary meditations of John Tavener are a touchstone, and though used sparingly in the film's final cut, this dark, unsettling music stands proudly on its own. [May 2011, p.87]

Unfidelity is too turbulent to be purely scenic in the Boards Of Canada sense, its plaintive melodies hemmed in by the gurgles and clanks of some sinister, unmanned waste disposal plant. [Apr 2014, p.73]

Only those with blind faith could love everything here, but dipping in randomly produces gems. [May 2015, p.91]

An unqualified triumph. [Jul 2016, p.73]

While the material is frequently just serviceable, the arrangements are inspired thanks to the virtuosic interplay of JaRon Marshall's gilded piano, Brendan Bond's percolating basslines and Quesada's sizzling solos. [Dec 2023, p.27]

Another 21 songs of baffling titles, ingenuous melodies and charming amateurism. [Jul 2012, p.73]

They exhale the kind of swirling 'perfect pop' that was the default setting of late '80s Creation releases, leaning into the crosswinds of Fairport-era folk-rock. [May 2005, p.100]

His latest mixes John Fahey-like acoustic work with occasional brief bouts of his familiar electric shredding. [Sep 2014, p.75]

The way the elements hang together effortlessly on "Cataract" is worthy of Bat for Lashes, or even Bjork. [Apr 2010, p.109]

BRM's second is a dazzling stylistic display. [Oct 2021, p.25]

This is essentially the same clutch of B-sides, outtakes and live tracks you'll already own if you shelled out for 2002's Slanted And Enchanted (Luxe and Reduxe) edition, sans the mother album itself. [Sep 2015, p.94]

This could be his masterwork. [Sep 2004, p.108]

Frequently utterly mesmerising. [Nov 2003, p.124]

If it all seems a bit contrived, the end result is harmonious and -- remarkably -- never kitsch. [Aug 2002, p.99]

A bunch of amazing songs that combine the passion of early Sinead O'Connor with the craft of Christine McVie. [Jan 2005, p.124]

It's a maddening inversion of all the conventions of songwriting, but a brilliant one nonetheless. [Dec 2006, p.102]

Belatedly, it turns out to be great: seven prescise, insurrectionist ramalams that somehow fit somewhere between the MC5's high Time and Dead Boys' 'Sonic Reducer.' [Mar 2009, p.82]

What's absolutely consistent is Young's almost alchemical ability to mesmerise with the sparest of tools - his reedy quaver and sturdy but unflashy accompaniment providing the only embellishments to his elliptical lyrics and aching melodies. [Jan 2010, p. 120]

Unsound is a corker, sounding fresh and full of great hooks and ideas. [Aug 2012, p.77]

[This is] probably their best--a fine LP of crisp, clever chamber pop. [Oct 2012, p.79]

A great leap backwards. [Feb 2014, p.80]

Amid the cheap preset funk and curdled interludes, Bouaziz enchants with moving pieces such as "Heartbeats" and "Hero." [Aug 2014, p.74]

Their inspiration occasionally wanes. [Jul 2015, p.81]

Indie slackers Hooten Tennis Club demonstrate some unique charms on their debut album. [Oct 2015, p.77]

Jeffes has safeguarded the Orchestra's broad, eccentric range of instruments, and shifts effortlessly from the drones of "Control 1 (Interlude)" to the good-natured, pastoral pleasures of "Ricercar." [Jun 2017, p.37]

There's nothing eruptive here: effects-drenched guitars, synths and electronics conjure a hushed, hypnotic ebb and flow that's bleakly comforting if over familiar. [Mar 2019, p.34]