These are beautiful songs with a murderous heart. [Feb 2012, p.90]

It's all unceasingly beautiful. [Mar 2012, p.81]

"Ye Ye's" Chicago house snares and claps crop up throughout the record, turning the pretty "Lights" into a sweaty jack-fest and giving deranged effects of "Springs" a rigid framework. [Dec 2012, p.69]

He decided to record the constant cacophony of construction in his Prenzlauer Berg district, reassembling the treated drilling and grinding into haunting ambient pieces. [Dec 2012, p.76]

Like much of the rest of this fine record, [final song, "It's Summertime Again"] sounds like a forgotten hit beamed in from some beatific version of the past. [Nov 2013, p.77]

Plays Chris And Cosey, more than justifies its existence. [Mar 2015, p.73]

His third album showcases Californian singer Marsa Pullman, setting her bell-clear voice against elegant country-soul settings that conceal lyrical darkness. [Sep 2015, p.76]

Most consistently enthralling album thus far. [Feb 2019, p.36]

If you like your pop super-sweet and synthy, fill your boots. [Mar 2020, p.25]

The basic formula may be familiar, but Mallinder’s ear for fresh noises and slippery grooves remains as sharp as ever. [Aug 2022, p.29]

Producer Adrian Sherwood now completes the picture with this sound-system-style refashioning, breaking tracks open, resetting them in eerie dubscapes. [Oct 2022, p.25]

High Flyin' is like a snapshot from a long-ago holiday romance. Sweet, sometimes spine-tingling to recall. But you maybe won't linger over it too often. [Jun 2023, p.48]

It's all great fun and played by a road-hardened band full of vigour. [Oct 2023, p.26]

Finds his laconic voice soundings more Lou Reed-like than ever. The songs, though, are classic Wynn, all psych and jangle. [Sep 2024, p.39]

Woof has to be one of the weirdest debut albums of the year, a record that throws everything at the wall in the conviction that some of it will stick and so what if it doesn’t. [Nov 2024, p.34]

There's a level of quality control on this project, overseen by [Mute Records founder Daniel] Miller, that still allows Stewart to probe and provoke, but this time the medium of his message is more palatable. [Aug 2025, p.31]

It's a little disorienting at times, but it's a vibrant and varied listen nevertheless. [Nov 2025, p.35]

Aggressive bursts of noise and fantastic harmonic singing make this record sound like the result of a happy accident rather than a long-pondered academic exercise. [Apr 2007, p.94]

Alopecia is another woozily layered, beguilingly fractured affair, driven by beats and samples. [May 2008, p.113]

The veteran band's warmest, most tactile record. [May 2023, p.32]

In a single sitting it can tend toward the soporific, but there's unforced sweetness in this groovy drifting off. [Aug 2023, p.34]

It shares Bon Iver's "For Emma, Forever Ago's" exquisite sense of existing in its own hermetically sealed world. [Aug 2009, p.87]

The record plods along nicely but often drifts into forgetful or nostalgic territory, with the fuzzed-up growl of the guitars recalling the bygone mid-90s indie-rock boom. [Nov 2018, p.37]

Like the opener, ["Rolling Stone"] promises more than it delivers, but pretty much everything in between rings the bell. [Feb 2011, p.80]

Barlow's spiky, spindly diary entries remain an abject lesson for indie losers everywhere. [Jun 2019, p.34]

His voice isn't built for such poignancy. This is a 74-year-old's dance record, not an elegy. [Jul 2018, p.27]

Even if it doesn't push the needle for Ono in terms of broader cultural awareness, it reinforces the crucial idea that those who know, know. [Apr 2022, p.24]

A bit Mariah Carey on paper, but startling in practice. [Dec 2012, p.77]