Hot Panda have produced a terrific album, one which combines intellectual and lyrical heft with a sure ear for a catchy riff. [Sep 2012, p.79]

A triumphant, ridiculous mess. [Dec 2014, p.73]

This expertly wrought debut is an impressive platform for twentysomething polymath Heloise Letissier. [Apr 2016, p.71]

A ramshackle, frequently over-the-top barrage of familiar rock tropes appropriated in the service of an unmitigated romp. [Apr 2015, p.72]

Age Hasn't Spoiled You sees them easing off the sonic throttle as they explore other sounds, while maintaining a similar level of emotional fervour. [Jun 2019, p.29]

Its focus is tighter, its punches more considered. [Dec 2022, p.26]

It's melodically sharper... occupying Stereolab's old ground with a surprising commercial edge. [May 2003, p.106]

Every one of these 15 songs is a perfectly-crafted masterclass in great American songwriting. [Aug 2002, p.99]

Their trademarked scuffed jangle sparkles on the likes of “Pine For You”, and such downbeat cuts as “Rifled Through” demonstrate that none of their facility for the lachrymose epic has ebbed since “Taillights Fade”. [Jun 2024, p.29]

Why Me? Why Not. ticks a number of boxes for his fanbase. [Nov 2019, p.25]

[An] elaborate, sophisticated collection. [Sep 2012, p.79]

An adept stylistic reboot. [Nov 2015, p.83]

A typically frantic burst of speed metal/punk, but underpinned with plenty of hooks and changes of pace to maintain interest. [Dec 2014, p.75]

The fizzing alt.rock of the follow-up sounds like a determined effort to be his own man. [Apr 2013, p.77]

Beneath the edgy smarts there's always been an undercurrent of anxiety, and now they're plunging into choppy emotional waters, minus irony's lifebelt. [Jul 2017, p.26]

It's a savvy and sweetly skewed set. [Jun 2015, p.73]

Spookily smooth. [Dec 2003, p.122]

This luxuriant collection is one of Moby's most consistently inviting and uplifting in years. [Jul 2024, p.38]

It's united by the long shadow of Ibizan euphoria that hangs heavy over his genre-crossing dance music. [Sep 2013, p.95]

At times (“Matter Of Taste, “Got A New Car”), the inventiveness lands with a clunk. However, it’s a generous record, emotionally fearless and thoroughly likeable on first listen, while Perry’s voice can’t help but convince. He’s only just begun.

A fine album that suggests more pleasure to come. [Jul 2023, p.23]

The duo seems to be pursuing a more focused vision than they do in the rambunctious, eclectic Men. [Dec 2014, p.75]

The music here should captivate anyone who ever imagined what a Burial remix of Arthur Russell's World Of Echo might resemble. [Feb 2017, p.33]

The songs are autobiographical, but not always straightforwardly so. [Apr 2018, p.22]

Sounding as hale and hearty as they did on last year's The Machine Stops, the rejuvenated band attain the same state of cosmic ragged glory several more times on Into The Woods. [Jun 2017, p.30]

The evenness of the performances here is striking. [Jun 2015, p.74]

It's her most enjoyable record yet. [Jul 2006, p.92]

Like 2011's Tao Of The Dead, IX is a big thing, which sometimes rings rather hollow. [Dec 2014, p.71]