More polished than 2012's ragged debut, Acousmatic Sorcery. [Oct 2013, p.63]

It's not as scintillating as we've come to expect from the OutKast camp, but plenty of fun nonetheless. [Mar 2013, p.67]

At their best, they sound like a still-warm, half-remembered dream. [Feb 2013, p.79]

Tales of protest, battle, compassion, camaraderie, segregation and loss are recalled in rich tones. [Feb 2014, p.83]

The brutal realism Greil Marcus heard in X’s debut Los Angeles remains in John Doe’s solo incarnation as hard-bitten Americana troubadour, here offering 1890s tales of spartan hardship, his songs’ killers and victims chased across the South by poverty and guilt. [Jun 2022, p.26]

It's a mysterious affair, but never obscure. [Feb 2014, p.68]

Seven songs in 19 minutes feel like a tidy introduction to this contemplative Californian. [Aug 2021, p.21]

It's hard to think of a UK R&B album that sounds as formidably ready for the world as A Little Deeper. [Jul 2002, p.114]

After three albums, they've learned to speak the same language. [Jul 2017, p.40]

Singing in a voice roughly as big as the Saskatchewan plains, the cattle rancher writes lyrics full of violence, darkness and death. [Oct 2020, p.39]

If there are few surprises, the tracks are charming, well crafted and kept to a fighting-trim 11. [Sep 2018, p.36]

Confirms Momus as a laptop Tom Lehrer. [Jun 2005, p.102]

Pure electronica, like the understated “Only Silent Words” and viscous “A Time Mirror (Biophony)”, is appealingly reflective too, but often one yearns for the unexpected, which “A Colour Field (Holocene)”’s slowly developing melody and a series of “Life Study” vignettes fortunately provide. [Oct 2024, p.41]

Krgovich reflects wryly on his own situation, the perennial underdog whose day might be just around the corner. [Jan 2018, p.23]

While the overall sound is massive, it's become somewhat restricted in tone and texture, most tracks careering towards climaxes of cacophonous synth whines and heavy rock guitars, a narrower palette than on previous albums. [Nov 2013, p.66]

Fear Of The Dawn succeeds better when it surprises. [Jun 2022, p.34]

This live site from New Year's Eve 2011 reminds why these songs are firmly embedded in NZ music folklore. [Dec 2013, p.81]

It's the sonic equivalent of a Douglas Gordon video installation. [Jun 2021, p.27]

This is unabashed bar room vibes with a healthy side order of redneck grit. [Mar 2020, p.25]

[An] atmospheric and generally likeable debut LP. [Mar 2015, p.76]

Flitting between Black Sab homages such as “Busted Room” and the Zep-esque quasi-Middle Eastern “Recessinater”, and shorter rockers such as the Stooges-like “Front Street” and “BFIOU”, which opens with the riff from the Beasties’ “Sabotage” before exploring even scuzzier directions. [Jul 2021, p.24]

What An Enormous Room takes her eclecticism to fresh heights, each of these songs exploring different emotional moods while influences range from The Breeders to Goldfrapp. [Jan 2024, p.36]

There's barely a track above three-minutes as it charges along with spiky intent, bursting with energy. [Sep 2025, p.32]

They're at their best when they dial down the melodrama. [Sep 2015, p.77]

Good-natured album. [Apr 2020, p.35]

John Rouse's ninth album is a return to the sound that made 2003's 1972 such a gem. [Apr 2013, p.77]

Black Is Beautiful is their strongest yet, so cognitively disorienting it's hard to figure out what they're up to. [Jun 2012, p.69]

While the earlier albums had a rich dramatic and conceptual structure, things feel looser thus time round. [Sep 2025, p.39]