You're The Man is a bitty, madly varied collection. ... But as a series of discrete and individually brilliant EPs, it's a fascinating documents of the myriad directions that Gaye could have investigated at his creative peak. [May 2019, p.48]

II mixes sweeping, retro-futuristic synth-pop with brazenly outre guitar shredding and motorik beats to savvy--and emotionally sincere--effect. [Jun 2017, p.33]

This Chicago quartet have refined the psychedelic, gothic post-punk racket of their 2018 debut into punchier, more memorable songs. [Oct 2020, p.31]

On this sometimes obstinate, sometimes sublime record, Stevens shows he contains multitudes. [Nov 2020, p.24]

The predominantly Celtic hues of Stewart's 31st album tend towards the cosy and coffee-table, robustly structured rather than wildly inspired. [Jan 2022, p.31]

"Don't Pretend You Didn't Know" is a one-off messing with their recipe, still as compelling a mix of hardcore, jangle-pop, country and speed-metal as it was 25 years ago. [Oct 2012, p.77]

Beneath the gliding surface lies Browne the politico, quietly raging at the legacy of imperialism and warning of impending eco disaster. The music occasionally matches such animated sentiment. [Nov 2014, p.71]

The Julie Ruin are best when playing it a little goofy. [Nov 2013, p.74]

Johannsson's use of vocal manipulation on "Kanguru" and "Ultimatum" add splashes of colour to his full-bodies minimalism, each lingering note loaded with ominous intent. [Jan 2017, p.24]

The 11 songs form a pensive biography of sorts, though perhaps only intermittently about Sid himself. [Nov 2024, p.37]

Oak Island does for Chicago what Panda Bear's Personal Pitch did for The Beach Boys. [Apr 2013, p.74]

There's an appealing American cynicism lurking beneath their enchanting '60s doo-wop-indebted sound. [Jun 2018, p.30]

Gossip have been a force of nature - in no small part down to charismatic vocalist Beth Ditto and her dancefloor-quaking voice. Real Power, the Portland trio's first album in 11 years, plays on that reputation, but tenderly. [Mar 2024, p.26]

Songs come bathed in sparkling synths and warming strings, but melodies are unpredictable and unsettling, bearing repeat listens. [Jan 2022, p.29]

A hugely inventive collection. [Jan 2003, p.119]

He's captured the binary sense of outrage and fear with visceral brilliance on songs such as "twins" and "Stone Age." [Oct 2017, p.36]

On Apricity, Syd Arthur brings a blessedly light touch to their breezy psych. [Dec 2016, p.38]

It's compelling from start to finish; if OW's main is simply "to slay," then mission accomplished. [Nov 2014, p.81]

If the music at times fails to convey the particularities of her lyrics on the trip-hoppy "Memorial Day," Van Etten remains an insightful chronicler of small moments that produce overwhelming emotions. [Feb 2019, p.37]

A winning hybrid of indie neuroses and Brill Building craft, precision and intimacy. [Apr 2007, p.120]

While the aural palette's novelty value fades by the halfway mark, the final spin cycle provides a thrilling conclusion to this ingenious exercise. [Mar 2016, p.76]

Awkward moments of not, this group moves as one. [Apr 2013, p.76]

If the three-CD anthology is intended to make a case for the allure of the band's post-Tattoo You recordings, which comprise 18 of the 36 studio selections, it succeeds for the most part. ... The chief selling point, though, is the third disc, which contains 10 performances from recent tours, four of them featuring guest stars, and here, the results are decidedly mixed. [Jun 2019, p.49]

The prolific producer is releasing what could be his most accessible body of work. [Aug 2016, p.73]

With a live '70s R&B sound fuelled by flower power and, in "Star Now" and "Satellites," some excellent songs, Bilal is as focused as he's ever been. [Oct 2015, p.73]

Tobin delivers fiercely programmed, seriously dark material. [Mar 2005, p.104]

There's a lurking suspicion of contrivance here, as opposed to the spontaneity that characterised Don't Give Up On Me. [Apr 2005, p.102]

Ryan Adams is very much Ryan Adams being Ryan Adams. [Oct 2014, p.68]