Disappointingly, there's a lack of biting vocal interaction between the half-sisters, nothing ti match the delectable harmonies that graced the McGarrigles or less feted Roches. [Dec 2015, p.81]

As a metaphor for modern accelerationism, it's slyly provocative. [Apr 2017, p.37]

There may be too much on Electric Lines--including Jess Mills, American nwo R&B upstart Daniel Wilson and an uncharacteristically low energy Taylor on the title track. [May 2017, p.30]

There's an exotic, silk-road feel to her [singer Barbora Patkova's] spectral ululations, often delivered in her native language, that work brilliantly on the seven-minute title track, but can feel samey across a full album. [Jul 2017, p.30]

Sounds a lot more like Haines yammering on about end-of-days cults while Buck ditches his customary Rickenbacker jingle-jangle for brute force Raw Power stormtrooping. [Nov 2022, p.29]

There are some moments her that are mearly shoegaze revisited. But more often than not, Cantu-Ledesma's background in more avant-garde practices helps shake things up. [Aug 2017, p.26]

While these versions don't venture far from a cooing, lullabyish feel, it's a cosy, inviting one. [Sep 2020, p.28]

She hasn't acquired any other new weapons here, though, sticking to her usual palette: intimidating, sludgy-but-spare garage that builds like someone surreptitiously tightening a thumbscrew. [Jun 2013, p.76]

Her voice is every bit as great as her songs. [Aug 2016, p.76]

It's lyrically potent stuff. [Feb 2003, p.76]

A richer chamber-pop style which now reaches its zenith on Strange Dance. [Mar 2023, p.35]

All necessarily mood but never morose. [May 2023, p.32]

Commune is less immediately striking than World Music. [Oct 2014, p.81]

Wet Tuna really find their sound in the spacier moments. [Nov 2019, p.33]

Half Moon Light's much-needed manifesto of hopefulness comes with the addition of uplifting lyrics further designed to keep up our spirits on dark days. [Mar 2020, p.30]

Among the handful of minor gems, the title track is particularly ravishing. [Mar 2016, p.71]

A trove of intimate, impeccably judged delights. [Apr 2019, p.29]

Where Moor Mother's usual free jazz band Irreversible Entanglements give warm instrumental life to poem which are ultimately hopeful for change, Sumac offer grinding feedback symphonies. [May 2025, p.39]

If it all seems a little too familiar, the hooks here are undeniable. [Apr 2015, p.76]

Hannon is in his element, from the bittersweet ba-ba-Bacharachian title track to the glam, high-kicking chorus of "Down The Rabbit Hole". [Nov 2025, p.31]

At 15 tracks, The BPM is rather too much of a sensory overload, but this is enthusiasm in context. [Dec 2025, p.37]

His melodic approach remains minimalist, dependent on hypnotic rhythms and crescendo - there's also a Screamadelica familiarity to "The People Say" and "Let It Go" - but his sloganeering encourages unifying empowerment. [Apr 2023, p.32]

The most thrilling moments are those in which you catch a glimpse of the band jamming away amid the aural wreckage. [Feb 2022, p.25]

It's a rich ensemble sound, full and complex, but not overly dense. [Feb 2021, p.30]

She relies on relatively conservative house music tropes sometimes, but the hooks never fail to cut through. [Jun 2023, p.29]

Eyes may be on the US market, but the honesty of Parks' expression holds. [Jul 2023, p.33]

Perhaps they lack the arty flourishes of elder statesman Damon Albarn's solo work, but these bold, brassy tunes serve to remind that it wasn't only about Union Jacks and DMs back then. [Oct 2014, p.69]

"De Selby Part 2" shows he can stylishly bring funk and R&B influences to bear. But most distinctive are the afrobeat touches that lace "damage Gets Done" and "Anything But". [Oct 2023, p.29]