Fragmented and diffuse, Wyatt's second official album is occasionally guilty of being merely decorative. [Dec 2014, p.81]

Nothing Important offers more of idiosyncratic "ritual community music," as he calls it. [Feb 2015, p.75]

They've unleashed the rock monster within. [Feb 2015, p.87]

It's never a challenging listen, evoking distant, blinking skyscrapers, buzzing streetlights and echoes of the previous night's warehouse rave. [Mar 2015, p.78]

Kuti plots a way forward with the high-energy "Shotan" and "Corruption Na Stealing", his message ultimately uplifting. [May 2025, p.32]

There's a comfort, a natural ease, to Black Lips's Apocalypse Love that could never be mistaken for laziness. [Dec 2022, p.25]

A clutch of the group's best songs are strangely omitted from the setlist, while slower numbers like "Beneath Wild Wings" tend to expose a lack of subtlety. But at full pelt, Howlin Rain are a match for anyone. [May 2014, p.76]

There's no cathartic yelling, but feelings are certainly to the fore in eight tracks that features violin, clarinet, lap steel and piano, with a guest spot (on "Just") from ambient psychedelicist M Sage. [Dec 2025, p.36]

Spend The Night emerges as the dumb-riffed album Courtney Love tried to make with Celebrity Skin. [May 2003, p.94]

An explicitly confessional record attempting to make sense of, and give vent to, a degree of personal turbulence. [Jan 2026, p.25]

[A] solid offering in a drizzle of bleeps. [Oct 2014, p.79]

Her reinterpretations restore some of the post-punk edge to a band long overshadowed by its frontman's solo hubris. [Dec 2019, p.29]

An album of gently textured art pop, the lightness of her voice and almost ethereal sounds in direct contrast to the diaristic darkness of lyrics that explore raw, familial emotions. [Mar 2026, p.29]

The new takes largely work well, underscoring the compositional strength of the original songs. [Jul 2021, p.31]

Clark turns in one continuous lachrymose piece that ebbs and flows with sinuous grace and is edgy enough to intrigue Hollywood. [May 2016, p.71]

Chords is a stark, minimal listen--but one that rewards patience. [Jul 2019, p.24]

It is readymade for a kegger; the problem is, on this, their third LP, they have yet to shape their influences into a sound they can call their own. [Oct 2012, p.77]

As a whole, West of Eden is extravagant and ridiculous, but it embraces its own erraticism. [Mar 2020, p.29]

The quality varies but certainly hits the mark here and there. [Dec 2014, p.81]

Kozelek's latest aims for a similar kind of dolorous charm, plus Spanish guitar, and often succeeds. [Feb 2015, p.80]

Sirens may be the most acutely personal and deeply unnerving music Kevin Martin has ever made. [Jul 2019, p.30]

This is an album that twitchily turns away from a pat genre tag. [May 2014, p.81]

A resounding success. [Jun 2003, p.92]

SOPHIE effortlessly crosses detailed, quartz-like avant-garde production with pop's unapologetic, dizzying sugar rush. [Sep 2018, p.39]

While "Choir In The Wires" showcases Watson's forte for lustrous, wide-scope chamber pop, more characteristic is the gentle hush of "House On Fire". [Nov 2025, p.39]

The likes of "Gadigal Land" and "First Nation" evoke an earlier Oils, circa the seething post-punk of "Head Injuries" - though the show is stolen by Alice Skye, who takes lead on the poised protest ballad "Terror Australia." [Jan 2021, p.28]

A rich, absorbing listen. [Apr 2020, p.33]

"In My Kitchen" turns on an impressively dexterous, high-speed bar, while "Gwara Gwara" (A Durban dance gone global) is at once euphoric and anxious. [Feb 2025, p.37]