After reaching for Bowie-esque grandeur on the opening "Song For Agnes," they lock into an INXS-style chromium-funk groove on "America's Cup" and reimagine The Clash as a synth-punk band on the speed-burner "Human Touch." [Nov 2021, p.32]

Slothrust demonstrate a melodic elegance that belies their grunge-punk roots. [Jan 2022, p.29]

Still groovy, but these voyagers might want to plot a new course. [Feb 2022, p.37]

The passion of a precarious life lived by a gospel of poetry and rock’n’roll is, though, undimmed, in music of acoustic intimacy, helped by Kieran Hebden’s spectral guitars and the Webb Sisters’ choral harmonies. [Feb 2022, p.29]

A take on "White Cat" from 2017's Plum is strung out to 20-odd minutes. ... Elsewhere they approach their back catalogue with a sense of blissed-out spaciousness. [Nov 2022, p.38]

While you'll find little direct trace of Odessey And Oracle here, or of course White's distinctive songwriting contributions, Blunstone's heartfelt interpretation of Argent's classicist craft does, though, endure. [May 2023, p.34]

Dreamer is irrefutably dreamy. ... Nonetheless, she strays into other early-to-mid-'90s styles. [Jun 2023, p.31]

The bewitching tone varies from languid to experimental. [Jun 2023, p.35]

In making work that continues to challenge oppressive systems and relay his tender feelings, it’s clear Nash is very much alive in the now. [Jun 2023, p.22]

Less effectively soothing than 2022's A Journey..., it's unconventionally beguiling, more ambient predecessor. [Dec 2023, p.34]

This sprawling set is a testament to his talents not just as multi-instrumentalist but as bandleader, a rapturous unwind through sprightly bouzouki-powered jazz, soulful strings and serene New Age. [Dec 2023, p.25]

Finds The Vaccines at their terse, nervy best. [Jan 2024, p.38]

Its themes are plainly evident in the earworm metal stomp of "Many Doors To Hell" and gothic menace of "Fingers In The Wounds", although more subdued (but equally sombre) hues inform the portentous, piano-led power ballad "Shadow Of The Gods". [Mar 2024, p.25]

Channelling their individual talents for explorations of the sublime, they make effects-heavy and expansive dronescapes that upset “post-rock” assumptions while tilting obliquely at Alice Coltrane’s organ/synth works, Swans, Suicide and Scott Walker’s avant-gardism. [Nov 2024, p.43]

It’s a compelling set, from the menacing “Flowers Like The Rain” and quasi-hardcore of “Six Six Seven (Monsieur Faux Pas)” to the gluey, narcotised “Bring It On”. [Oct 2024, p.40]

Its songs were built from jams, which lends them a becoming looseness; they’re also rather more Western rock than global pop, and melancholia has made its mark on pastoral-folk opener “Brave Child Of A New World” and the Zombies-ish “Those Who Came Before”. [Dec 2024, p.31]

The Great Learning Orchestra approach Ono's instruction pieces with integrity and wit. [May 2025, p.35]

Poetic ruminations largely accompanied by sparse piano and string quartet ("Coming Home", "Time To Go"), with the occasional curious detour. [Jun 2025, p.39]

A deliciously bubbling cauldron seasoned with ladles of Scott Walker melodrama and a generously pinch of Bowie-inspired balladry. [May 2025, p.33]

Downey has the chops to convince as an alt.country diva if she can step beyond this pleasant ambling contentment into more trenchant and ambitious songwriting territory. [Nov 2025, p.31]

Momentum sags somewhat over its lengthy duration - but it also unquestionably features some of their finest, and funkiest, work to date. [Apr 2026, p.34]

The knowing zaniness of "The Simplest Of Deeds" or "The Wake Up Call" don't amuse for long but the T. Rex-style boogie of "WAP" is more potent, as is the space-pop swirl of "Melody Of Entrophy". [Jun 2026, p.27]

There are some creative dead-ends, but there is enough here to warrant a reappraisal. [Jun 2013, p.94]

Ultimately, Cardinology serves as another minor indictment of Adams’ famously lackadaisical internal editor. Neveretheless, it is still, almost infuriatingly, a stretch better than most people at their best.

Ganglians take care to lace everything with bright, primary colour melodies, suggesting they might yet follow the likes of MGMT and Yeasayer into the mainstream. [Sep 2011, p.87]

Played loud, King Night is a widescreen hallucinogen. [Oct 2010, p.104]

It's this pretence of overbearing world dominance which is realised on Thing. [May 2010, p.108]

If there's a whiff of C86-styled whimsy in this debut, then its savvy more than compensates. [Sep 2011, p.89]