Some of Bridges Not Walls shares a punkish musical sensibility with its ancestor, and while "The Sleep Of Reason" is an invigorating polemic, Bridges Not Walls is at its best dropping a gear for the country shuffle of "Saffiyah Smiles." [Jan 2018, p.18]

Best yet and then some from an artist whose vision continues to expand with every release. [Oct 2014, p.68]

Monster Magnet and Mudhoney's sludgy heaviness and Hawkwind and Stooges prototypes form the mulch for this unexpected double. [Mar 2026, p.33]

The retro musical mood on Happy Rabbit fits the lyrical tone. [Jan 2017, p.24]

It can be hard to spot any difference, so instead bathe om the spare beauty of "Ode To The Morning Sky," the scrumptious "Womb Of Time" or the wise, glowering "Weird Woman." [Nov 2014, p.83]

It's all insanely catchy. [Feb 2017, p.33]

The album isn't presented in chronological order, which makes it harder to discern changes in style and lineup, but does demonstrate the consistency of Wheeler's writing over a long period of time. [Mar 2020, p.43]

Crafting a sound that is brash in its bigness, massive in its attack. [Mar 2020, p.29]

Salvation lies in juxtaposing their dystopian vision against surging Beach Boys harmonies, gentle Simon & Garfunkel loveliness and the bucolic reverie of "Futures." [Mar 2018, p.25]

The results move their sound on significantly. The radical honesty of the lyrics is key. [Jun 2020, p.29]

There's little that veers from the template but it's largely done well. [Apr 2013, p.72]

What sets his debut apart from other similar singer-songwriters are the cinematic, electronic textures that he weaves around his work, but also the off-kilter material. [Aug 2017, p.32]

Driven by beats and rhythmic synth, the songs are meticulously constructed yet warm and intimate, if low on distinguishing characteristics. [Jan 2022, p.22]

Another delirious half-hour of, mainly, mannered asthmatic psychobilly. [Sep 2004, p.95]

A Hal Wilner-produced collection that is witty and engaging and confirms her as one of the most singular, if erratic, R&B divas of our time. [Aug 2012, p.71]

This is their best set of songs since the band’s sex-crazed 2004 debut, continuing some of the debt-to-the-’80s feel of 2014’s Get Back on homage-paying tracks like “Nikki Go Sudden” and “Swollen Maps”. [Jun 2022, p.31]

Somewhat erratic, yet frequently satisfying. [Dec 2013, p.65]

The powerful tunes make this an odd thing: a subtle album, fit for stadiums. [Mar 2007, p.83]

Wobble and Levene reunited for this brightly lit, muscly rock collaboration. [Dec 2012, p.79]

As ever with Reed, when it's good, it's blistering. [Apr 2004, p.104]

Straddling past and present, this is Red River Dialect's most sunny and easygoing record to date. [Nov 2019, p.30]

Tell The Devil is full of Biblical allusion and attendant questions of sin and atonement, the 70-year-old's conspiratorial drawl framed by low-down grooves and flinty slide-blues. [Nov 2017, p.30]

The smoky drawl and casual phrasing of her vocal often seems to channel Billie Holiday. [Jun 2023, p.31]

This handsome sequel stays mostly within their comfort zone of melodic, propulsive dance-pop tailored both to clubs and home listening, an impressive balancing act even if the formula sometimes feels over-polished. [Feb 2021, p.25]

The title track veer uncomfortably close to cookie-cutter sloganeering, but there's more focused spikiness to the manic pop charge of "One last Chance," while "Up On the Moors" ticks all the pogo-anthems boxes of the band's glory days. [Feb 2018, p32]

While Downhill From Everywhere climaxes with the ham-fisted “Until Justice Is Real”, the 72-year-old singer-songwriter has otherwise managed to thread the needle by embedding his compassion in consummate craftsmanship. [Aug 2021, p.24]

A record that comes on like a loving homage to the venerable Seattle label's gnarly rock of yore. [Jun 2015, p.80]

Stripped back to voice and piano, it's difficult not to recall early Kate Bush, but Amos' lyrics maintain a multi-layered depth that is uniquely hers. [Jun 2014, p.71]