His most towering achievement to date. [Aug 2003, p.114]

Anyone partial to the distinct strain of English folk from yesteryear, namely the sylvan otherness of Trees or dawn-of-the-70s Fairport, will find plenty to toast in the music of Wolf People. [Jun 2013, p.81]

This off-piste project has turned into a far more substantial, fully realised undertaking. [Jul 2017, p.24]

It's hard to take it quite as seriously as it seems to take itself, although there are certainly stirring moments. [Aug 2019, p.32]

It's U2's least immediate album--but there's something about it that suggests it may be one of their most enduring.

Nothings Gonna Change shimmers in spare arrangements, ghostly keyboards, textured horns, and, occasionally, a talking-style vocal style borrowed from Springsteen's Nebraska. [May 2012, p.72]

His 16th full-length recording is by some distance, Springsteen's weirdest, and most constantly startling to date. [Mar 2009, p.76]

Olympia could do with a little more of that future-facing yearning, the contemporary spirit that crackled through the remixes, to remind us of times when Ferry seemed as much a figure from our future as from our recent past. [Nov 2010, p.85]

A succinct pastiche of junglist, breakbeat and chill-out fare. [Sep 2016, p.75]

It's manically busy, demanding you strain to find the tune beneath layers of mellotrons, flutes and timpani. [Jul 2010, p.115]

It strips out their usual psychedelic sprawl, leaving something leaner and more insistent, if no less Technicolor and joyously hypnotic. [Nov 2014, p.80]

Decidedly shy of office-party pumpers, the avuncular pair decorate Snow Globe with originals and standards. [Dec 2013, p.67]

Business as unusual for Twig. [Oct 2015, p.83]

Something Dirty captures guitarist Jean Herve Peron and drummer Werner"Zappi" Diermaier plus Bad Seeds James Johnston and the artist Geraldine Swayne-- continually to shape-shift around the margins of rock. [Feb 2011, p.84]

On their third album, this Brighton via London quintet seem to have finally harnessed their Krautrock pulses, shoegazy guitars and MBV distortion to some decent songs. [Dec 2016, p.38]

The debut LP by Elias Bender Ronnenfelt's new project feels more daring still. [May 2015, p.77]

[Drummer Dave Lombardo's] return hasn't complicated Slayer's brutal, single-minded aesthetic, but it has stoked the hellfire that merely sputtered on God Hates Us All. [Sep 2006, p.97]

There will doubtless be more varied shades on future records, but for now, this pensive debut gives notice of a fine new talent. [Apr 2012, p.80]

A terrific package. [Jul 2012, p.71]

This fourth album owes obvious debts to classical cerebral dream pop. [May 2015, p.83]

Their naggingly overused Farfisa is balanced by otherwise beautifully layered, complex arrangements of trombone, electronics and harmony vox. [Apr 2006, p.118]

You're left wondering quite what point she's trying to make. [Nov 2004, p.122]

The fact that Feathers never really goes anywhere is beside the point. [May 2005, p.106]

With a new album of the less pop material from these same sessions due later this year, let's hope for some new mutations.

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]

There are no giant leaps here, it’s very much Interpol as you know them, but there’s plenty of micro evolutions, impressive production and subtle tweaks to make this a welcome addition to their catalogue. [Aug 2022, p.28]

When it's not straining for Significance, though, Viva La Vida is often rather lovely.

A mostly successful fusion of sonic and sartorial elegance. [May 2011, p.82]