On their third album, this Brighton via London quintet seem to have finally harnessed their Krautrock pulses, shoegazy guitars and MBV distortion to some decent songs. [Dec 2016, p.38]

The results are frequently bewitching, if blatantly nostalgic. [Nov 2015, p.76]

Dangerous Visions is a curious half-and-half. Side One collects raucous new material. ... Side Two, meanwhile, rests on an exhumed Peel session from 1989. [Feb 2021, p.30]

As is the case with his band's startling fusions of space rock, doomy metal and motorik grooves on its four albums, there are many surprising developments here too. [Jan 2018, p.23]

[It] curbs some of the excesses that made 2005's Worlds Apart so unfocused. [Dec 2006, p.101]

Psychedelic beguilement a la Syd Barrett and Wyatt-ish pastoralism bent into eccentric shapes figure, but variety is key. [Feb 2019, p.30]

The results will gladden devotees of fractured, footsore indie-rock. [Jul 2007, p.127]

A fairly ravishing listen that brings to life to Remy's Cindy Sherman-style identity politics. [Mar 2018, p.35]

It's certainly cinematic, and there are nods to Morricone. [Jan 2013, p.79]

The roller-disco gallop of "Wallpaper" epitomises Be Your Own King's catwalk-sang-froid and quiet Joie de Vivre. [Mar 2013, p.69]

L'Aurore finds Cedric Benyoucef and Charlie Boyer pursuing a rawer, more improvisatory approach than on albums prior. ... Actual songcraft can take a back seat, though. [Apr 2016, p.82]

Less reactionary souls will thrill to the dynamic Zoo. [Apr 2012, p.73]

Despite a tendency to drift slightly, BSP remain a reliably warm-hearted antidote to the bustle of modern life. [May 2013, p.68]

The chiming and charming likes of "Scratching At The Lid" and "Wanderlust" are typical of the second effort. [Sep 2021, p.31]

More fully realised than 2014's Season Sun, this second album adheres its predecessor's summery disposition while adding new elements. [Sep 2018, p.30]

A neat sampler of MacKay's unshowy virtuosity, at once brisk and mellow. [Jun 2017, p.33]

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

Shrines sees this young Canadian duo tamper with generic electro to create often sparkling results. [Aug 2012, p.78]

A lugubrious lo-fi treat. [Sep 2015, p.69]

This score to the latest in the Halloween franchise sees his sonic hallmarks - repeating piano motifs, desolate synthesisers and sudden moments of gut-wrenching tension - intact. [Dec 2021, p.25]

For all the widescreen grandeur and fresh perspectives of the orchestral arrangements, they're curiously at their most rousing when just voice and acoustic guitar embellish "Won't Get Fooled Again". [May 2023, p.38]

Ian Gillan doesn’t attempt as many sky-scraping howls as he once did but still delivers characteristically rascal-ish lyrics such as “Lazy Sod” and “A Bit On The Side” with swagger and relish. [Aug 2024, p.32]

[The] second album painstakingly recreates the sounds and melodies of peak-era My Bloody Valentine, Cocteau Twins, The Jesus And Mary Chain and Joy Division with a slavish devotion that borders on the obsessive-compulsive. [Dec 2012, p.77]

The band generally favour simplicity and great hooks on this fine second album. [Mar 2015, p.84]

The stream of banjo, fiddle, bones and spoons rolls on agreeably, marred only by a tendency to tweeness. [Apr 2012, p.73]

There's always a sense of menace, but it's surprisingly restrained. [May 2015, p.78]

The result is a rich, expansive yet considered album of indie rock meets shoegaze. [Aug 2025, p.32]

The second half of this compilation, thoughtfully assembled by Gotye's Wally De Backer, features Perrey demonstrating the range of the Ondioline's sonority with 10-second clips of him mimicking a banjo, castanets, oboe and so on, restored from the original acetate. The first half collects 11 of Perrey's more conventional Ondioline compositions from the '50s and '60s. [Aug 2017, p.48]