An intense and dizzying work. [Jan 2020, p.26]

The shouty threesome's hit-rate is good. [Jun 2020, p.27]

The focus is on the sad-sounding uke and kohl-eyed vocals Simmons brings. [Nov 2020, p.34]

What You Gonna Do When the Grid Goes Down? is no return to the glory days, it is a credible reprise of their old-school rolling and one-two punch, spiked with heavy psychedelic guitar. [Dec 2020, p.36]

A potent techno-pagan tapestry of intertwined voices, church bells, liturgical chants and occult spells. [May 2021, p.27]

Shouty Japanese pop-punk quartet Chai guest on wonderfully bleepy “More Joy!”, Giorgio Moroder assists with the thrilling digital disco of “Beautiful Lies”, Bowie’s pianist Mike Garson guests on the elegant ballad “Falling”, while producer Erol Alkan adds a dancefloor-friendly sheen to proceedings. [Dec 2021, p.27]

Barn is a stronger effort than its predecessor [2019's Colorado], with this particular lineup finding its footing. [Jan 2022, p.20]

It's entirely fantastical stuff. [Apr 2022, p.32]

An eventually rousing album. [Jun 2022, p.34]

There’s a palpable sense of world-weariness in his vocals and in the band’s fuzzy hooks, which makes everything sound both precarious and oddly poignant. [Aug 2022, p.25]

It lacks the crumbly warmth of Betke's early '00s work, but the likes of "Grauer Sand" and "Stechmück" - pensive, jazzy constructions drawing on the whine of an ailing Minimoog - draw a certain beauty from their tone of smoky introspection. [Dec 2022, p.35]

Leaving New York for Sweden during the pandemic gave fresh perspective to these songs of past American odysseys and accumulated loss. [May 2023, p.36]

Jean plays a mean guitar and the trademark rockabilly romps of "fate" and "trouble", or heavier numbers such as "Godmother", are perfectly fine. ... The wild, carnivalesque cover of Enya's "orinico Flow" - a novelty but a thoroughly enjoyable one. [Jun 2023, p.31]

The set offers power-pop gems like "Darlin'", a prospective Strokes classic in "818", and the closing surprise "Alright Tomorrow" a disco burner sung by actress/vocalist Rainsford. [Jul 2023, p.27]

On People Who Aren't There Anymore, then, no curveballs are thrown. However, the band's debt to OMD and New order is increasingly less obvious, while the earlier bombastic synths are being edged out by a more spacious, less forceful style of electronic poo that recalls fellow Baltimorean Dan Deacon, with echoes of Peter Gabriel. [Jan 2024, p.26]

“Love Resurrection” exhibits a more redemptive, albeit Yazoo-like energy. Later work, too, is transformed, with “Filigree”, from 2013’s The Minutes, now a poignant piano ballad and B-side “Tongue Tied” (from 2002’s Hometime era) getting the electronic polish it deserves. [Nov 2024, p.40]

"Never Come Never Morning", propelled by chunky drums and a vulnerable lyric, showcases a more accessible heart and introduces the spirit of openness that sits at the centre of an excellent record. [Mar 2026, p.34]

It kicks ass. [Aug 2006, p.99]

Nothing here is exactly restrained, but KK&TS seem to have realised that the slower burn can be just as effective as the full blaze. [Oct 2013, p.70]

This second album feels less mannered than 2010 debut Fields. [Jun 2013, p.75]

A sprinkle of Flaming Lips fairy-dust may be just what the genre needs to slip its genre straitjacket. [Jul 2006, p.114]

[A] slim, but enjoyable album. [Jan 2011, p.88]

Maybe this could have been two different records: the big-name covers album and the back-room jam session. But in terms of conveying the passions, frustrations and intriguing contractions of its restless instigator, Honora is perfect. [Apr 2026, p.27]

Mountain Battles is marginally more polished than "Title TK" but it still sounds as if it was recorded in one take in Steve Albini’s toilet. A good thing, as it turns out. The intimacy of is what makes it precious.

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]

This third album also boasts that customary lazy Australian twang, but allied with some fine songwriting and a deft lyrical touch. [May 2015, p.72]

She hasn't acquired any other new weapons here, though, sticking to her usual palette: intimidating, sludgy-but-spare garage that builds like someone surreptitiously tightening a thumbscrew. [Jun 2013, p.76]

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]