"Relay Runner" and "Jornada" boast more muscular sensibilities, with pulsing rhythms that bust through the layers of eerie drones and noises that make Loma as unsettling as it is compelling. [Mar 2018, p.28]

He's an engaging singer-songwriter whose instinctive, winning wryness takes the edge off some occasionally ruggedly confessional material. [Apr 2016, p.69]

They pull off shifts in mood and tone with routine aplomb. [May 2015, p.83]

A loose, luscious listen, with a timeless sound. [Apr 2024, p.32]

At just 25 minutes, it’s very much a listen-through, though the percussive clattering and ominous synthesiser hum of “Names Make The Name” constitute a standout. [Apr 2024, p.41]

Making avant-garde sound both formally inventive and somewhat otherworldly. [Oct 2020, p.29]

It is, for Pole, a breath of fresh air. [Nov 2015, p.80]

Tighter and woodier-sounding than 2003's Mouthfuls. [Oct 2005, p.102]

Though producer David Holmes’ disco rhythm tracks sometimes mask it, Come Ahead now addresses addiction and injustice in expansive stanzas. [Review of the Year 2024, p.35]

Throughout, there's evident delight in lexicographical obscurity that echoes James Joyce or Will Self: no bad thing in itself, though when allied to the sometimes impermeable, abstract constructions, the results can be frustratingly opaque. [Dec 2012, p.61]

Now and then she's too laconic for her own good but the self-deprecating humour of "It's So Weird" and "Staying In" hits the mark. [Feb 2019, p.27]

The Belfast trio revel in producing the sort of catchy, fuzzy pop exemplified by the hooky "Ordinary Daze" and "Down Dog," although they can also work in more expansive territory, like "I Won't Let Go." There's wit too. [Feb 2016, p.79]

You Had Me At Goodbye finds her experimenting with musical form, be it on chamber-folk eulogy "When The Roses Bloom Again," "Windmill Crusader's" skittish electro-pop or the droll "Antiseptic Greeting." There are moments of minimal charm here, too. [Apr 2017, p.26]

Bunker Funk runs along more heavily rhythmic lines, without sacrificing a single joule of energy. [May 2017, p.26]

Even if the landscape is occasionally a little too pleasant, the overall trip is well worth taking. [Jun 2018, p.32]

Pleasantly surprising, then to hear Moonlust take a rather more delicate approach. [Jun 2015, p.76]

These are solidly structured ditties with few surprises. [Jul 2012, p.79]

It drags and trundles in places, opting for plump maximalism over the lean, urgent minimalism of yesteryear.... All the same, Music Complete is easily New Order's best album since Technique, and probably their most musically diverse ever. [Oct 2015, p.74]

Wreckless Abandon is great fun, infused with the characteristic boogie and swagger of Campbell's guitar, and heavily in hock to his obvious formative influences. [Apr 2020, p.27]

Smoothes the edges between Jamaican sound-system bass, calypso rhythm, Middle Eastern melody and vintage soul. [Apr 2006, p.110]

Daniel takes care to keep things minimal. [Jan 2017, p.23]

Full of eerie trembles and trills, Camila De Laborde's voice is similarly ethereal, if sometimes numbed, and she and Daniel Hermann combine to create glistening, immersive soundscapes. [Jan 2019, p.19]

That it far surpasses its cut-up, protracted origins, and might even be the best thing the Floyd have released for over 30 years, is a welcome surprise. [Dec 2014, p.68]

Happily, the overarching bleakness is sugared by Wells' brisk, sometimes cinematic instrumentation. [Jun 2015, p.84]

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]

He drifts boringly into pure pastiche on "Crystal Caverns 1991," but what keeps the rest fresh is the pace. [Jun 2012, p.77]

His voice might not be as powerful as it was – “This Ain’t Rock And Roll” sees him push it to the throaty limit –but it still has range, control and versatility, while his phrasing is consistently imaginative. [May 2024, p.30]

Of course, Black Sabbath can't fully turn the clock back to the beginning--but they can still do a pretty good job of sounding like the beginning of the end. [Jul 2013, p.70]