It's an album that takes pleasure in its capacity to quietly, seductively surprise. [Aug 2018, p.28]

It's heavy R&B with a slight goth-punk vibe thanks to the pummelling rhythm section and Childish's dead pan vocals. [Jan 2026, p.31]

Songs such as "Don't Want Move" and "Making The Most of It" compellingly frame the narrative, while "First Drum Set" and "Teenage Sequencer" joyously chronicle his escape route out of the alienation. [Mar 2022, p.35]

An LP that's cluttered, incoherent and frequently quite brilliant. [Jul 2023, p.34]

Much of Deleter occupies latter-day Primal Scream/David Holmes territory, the kind of pleasantly anonymous groove-driven middle ground that wavers non-committally between inchoate anger and fuzzy euphoria. [Mar 2020, p.29]

These songs often have a conceptual bent - take the lyric of "Last Scene Of All", collaged together from fragments of Shakespeare plays - although Lewis' vocal, a world-weary baritone with shades of '80s Scott Walker, ensure they slip down fairly easily. [Jan 2025, p.39]

The results are terrific; which is odd. in a way, given the stark simplicity of Johnston's songwriting and BTS's reputation for angular and faceted. [May 2020, p.25]

The themes are invariably dark but there's always a groove. [May 2013, p.67]

An intoxicating, instrumental tribute to the wheezing Farfisa organ; propped up only by the clarinet and double bass. [Aug 2020, p.27]

Guests like Emiliana Torrini and Shinehead help make this that rarity: an electronic album with personality. [Dec 2002, p.133]

Electric guitars squall in the climax of "Gonna Be Good," setting up the cinematic strings of "Someone New." Thereafter, however, the muted acoustic arrangements convey little of the poignancy contained in Kelly's lyrics. [Feb 2013, p.74]

Daughters mixes history, fable and philosophical thought, with vocalist Horwood switching between euphoric and mournfully reflective. [Jul 2019, p.24]

Weirdly wonderful. [Jul 2015, p.78]

Wasner and bandmate Andy Stack wield sharp production touches, like the breaths that pan "On Luxury," although Tween can suffer from a slight surfeit of scale over melody. [Sep 2016, p.81]

The album tends toward generic, blocky sci-fi-tronic. [Sep 2013, p.90]

Channelling their individual talents for explorations of the sublime, they make effects-heavy and expansive dronescapes that upset “post-rock” assumptions while tilting obliquely at Alice Coltrane’s organ/synth works, Swans, Suicide and Scott Walker’s avant-gardism. [Nov 2024, p.43]

There was much more to Stapleton than the Music Row standards he'd been cranking out for others, and Vol. 2 further confirms this suspicion. Under his own name, and own steam, Stapleton cleaves closer to the outlaw ethos of Waylon Jennings, Hank Williams Jr and Johnny Paycheck. [Feb 2018, p.32]

Football Money packs a melodic punch. [Mar 2020, p.30]

Smith's lyrical flights of fancy come off somewhat top-heavy, but by and large such bookish pretentions feel like something to appreciate, not castigate. [Mar 2014, p.79]

No one seems to know quite how he does it, but Donovan keeps going, quietly, from strength to strength. [Jun 2018, p.27]

The overall mood is The Band given Taylor Swift's budget, on heartfelt and easily wounded love songs. [Sep 2014, p.78]

The album title translates as "chameleon butterfly" which sums up the surreal ambience nicely. [Sep 2016, p.74]

Damon Albarn and Portishead's Beth Gibbons drop by to provide some haunting counterpoint to DOOM's gruff verbal gymnastics. [Oct 2012, p.83]

He's added half a dozen of his own compositions in a similar style to this generous 16-track selection, which pays tribute to his jazz roots rather more successfully than his uneven homage to his R&B origins in September's Roll With The Punches. [Feb 2018, p.30]

Chief songwriter Craig Johnson is canny enough to avoid being backed into a corner, and adds additional colour such as electro-punk "Execution-Rise" and the intriguing "Torrment." [Jan 2018, p.18]

They produce big pop hooks via skewed My Bloody Valentine guitars more reminiscent of Giant Drag, but with the abrasiveness replaced by sugary harmonies. [May 2007, p.93]

It's fair to say that Mitchell rarely does the heavy lifting here. Her role onstage is a fluid one: muse-goddess, North Star, shredder, comic foil and sometimes singer. The playing by her fellow artists is stellar and the backing vocals, in particular, ooze class. [Aug 2023, p.22]

Witty like Loudon Wainwright, doleful like Jonathan Richman, Hamilton emerges as a distinct presence throughout, and it's this you warm to. [Dec 2006, p.102]