These 16 ineluctably lovely songs are his most personally reflective for some time. they're also among his most structurally straightforward. [Sep 2025, p.33]

Hark! I Inside the Old Year Dying is a singular thing. [Aug 2023, p.18]

The scratchy lo-fi production doubles its mystery, resulting in an album of sensual pleasures and magical power. [Mar 2013, p.77]

This is Tinariwen as deep and darkly compelling as we've ever heard them. [Apr 2026, p.32]

Klaus Dinger’s Apache beat and Michael Rother’s steel reels of guitar still have elemental power. ... The National, and Stephen Morris (of New Order) and Gabe Gurnsey, acquit themselves adequately, but Neu!’s music is so singular, there’s next to no point trying to take the material on, even in tribute form. [Oct 2022, p.46]

A considerable advance on predecessor 604.... This is sublime, subtle, subversive stuff. [Dec 2002, p.150]

A brilliant fusion of no-wave disco, dub-punk, early Factory aesthetics and post-rock technique. [Dec 2002, p.134]

An album of beautiful songs that sound like something you might get from an unusually upbeat Leonard Cohen. [Nov 2024, p.43]

It’s just five tracks, barely half an hour of music, but worth the wait in gold. ... Particularly on the radiant “Make Lovely The Day”, where she’s accompanied simply by Steve Hackett’s fluttering acoustic guitar, it’s like hearing the greatest British singer of her generation for the very first time. [Jul 2022, p.33]

It's a vibrant set with a live feel, alternating between rowdy folk-rockers and some of Thompson's most poignant ballads. [Mar 2013, p.77]

Evokes Watt's early mentor Robert Wyatt at his most enthralling and adventurous. [Mar 2020, p.37]

An even richer reward for admirers--since he's never written with such frankness. [Apr 2017, p.32]

Only a couple of tracks into Bonny Light Horseman’s third album, it’s clear this is something special. Beauty erupts from the vocal harmonies of Eric Johnson and Anais Mitchell, who lift the Technicolor folk-rock of “Lover Take It Easy” into something close to heaven. And then it keeps getting better. [Jun 2024, p.29]

Live At Goose Lake is messy, thrilling and utterly unhinged. In other words, it's The Stooges at their best. [Sep 2020, p.44]

A singular, rhapsodic triumph. [Apr 2007, p.94]

Another Spiritualized album. Another great Spiritualized album. [Oct 2003, p.120]

Divers feels like her most comfortable, charming album. [Nov 2015, p.80]

Primrose Green is disorientating, casting new light on modes you thought you knew well. [Apr 2015, p.65]

Dawson is able to soar gloriously over Circle’s layers of sound, while the group are stronger with his mighty voice and melodies elevating their tumult. The rest of us are just lucky to be able to dive into these seven songs, as heavy as Redwood trunks and as complex as cladoxylopsids. Cue thunderclap.

Does the reissue/repacking thing properly. Forty years after they kicked-off post-punk in a blaze of punk, funk and revolutionary praxis, Gang of Four bow out with a box that deserves a place in the history books. [Apr 2021, p.38]

Tip Of The Sphere represents McCombs' practised skill as a shaper of his own world, with pride in his craft, a deep respect for tradition and the drive to refresh it via his own, idiosyncratic iteration. [Mar 2019, p.18]

Live At The Fillmore 1997 stands as both an outstanding document of a great rock'n'roll band at full throttle - and as good a live album as has been made by anybody. [Jan 2023, p.32]

Few artists combine concepts of arcane and contemporary quite as atmospherically as New York's Odetta Hartman, who uses the banjo to provide melody and age but then embeds songs with dance beats and sound effects, before adding timeless jazz-folk vocals. [Sep 2018, p.30]

Kiwanuka is loaded with memorable songs, but the best way to experience them is by listening to the album from start to finish. [Nov 2019, p.26]

Super Furry Animals have just made perhaps the defining record of their career. [Sep 2005, p.100]

It's entirely addictive--one fix and you're hooked. [Jul 2018, p.36]

[An] exhilarating companion piece. [Nov 2020, p.49]

As a celebration of classic songcraft, it is as sincere as any of Dylan's many forays into traditional American roots idioms. [Mar 2015, p.65]