The ingrained instinct for grandiosity can grate, but Gahan has never sounded better, his voice bringing power, purpose and unity to a project that's previously delivered less than thew sum of its parts. [Jun 2012, p.83]

The results have fire in the belly and attitude to spare. [Jun 2014, p.78]

Occasionally tentative songs and wonky arrangements mar them here. [Dec 2001, p.117]

Tunes like Burt Bacharach's "blue On Blue" and The Young Rascals' "How Can I Be Sure" are perfect for Almond's pirouetting croon. [Oct 2017, p.23]

Grohl claims the title track set the tone for this self-produced set, which squares with its adrenalised, garage-rock push, though not its cheeky nods to Quo and ZZ Top. Variety is the byword. [Jun 2026, p.29]

Its four sides teem with microbial incident, particularly in the dense thicket of percussion from Tony Buck that undergrids the album. [Mar 2017, p.35]

Full of jingle-jangle mourning, this is a soulful, charming debut. [Jan 2025, p.39]

With Mercury Rev/Flaming Lips producer Dave Fridmann poking psychedelic liquorice in the fluffy sherbet of their sound, Ross and drummer David Blackwell are more like an ice-cream van sinking in marshmallow, Motorhead on the dodgems or PJ Harvey fronting the Glitterband. [Mar 2018, p.28]

Fun for all the family. [May 2020, p.28]

There's certainly a highly evocative quality to the stoned, sun-dappled soul found here. [May 2020, p.25]

Aladdin is Green's most satisfying album in awhile. [Jun 2016, p.73]

It's not pretty but it's pretty effective, with tracks like "Radiant Mountain Road," "Volume Peaks" and the frantic "Babel" quickly finding a groove and then flogging it to an entertaining death. [Jun 2016, p.69]

Dross Glop sounds a long way from Battles themselves. [Jun 2012, p.69]

The Liquid "I'm Turning Inside Out" and lyrically unsettling, Bon Iver-ish "Shine A Light On Him" are standouts in a quietly haunting set. [Aug 2016, p.83]

Offers something for everyone. [Nov 2020, p.25]

If Time Clocks stays largely true to his love of power-trio blues-rock, he adds an inventive prog seasoning to "Mind's Eye" and "Curtain Call," and his determination to keep moving forward is commendable. [Jan 2022, p.21]

Extreme Witchcraft snaps and snarls more than usual, but wit, tunes and third-degree self-awareness continue to serve the post-grunge Randy Newman well. [Feb 2022, p.28]

More of this arch British sourness next time. Please. [Oct 2012, p.86]

Setting out their stall with mannered glitch-pop and sardonic art-rock, both usually entangled. [Aug 2023, p.38]

The album finds Escovedo veering between anxiety and celebration. [Feb 2017, p.26]

It privileges technique and texture over hooks, but as a pitch to be the next Danger Mouse, Aquaria is not a bad one. [Jan 2016, p.73]

A slippery amalgam of Chicago house, Detroit techno, acid house grooves and sleazy electro-pop. Delirious fun it is too. [Jan 2025, p.32]

At first you're impressed by more robust moments such as "From Inside, Looking Out"--think Philip Glass on steroids. But further plays are to the benefit of the record's more restrained moments. [May 2019, p.37]

This time the material is vivid and freakier. [Jul 2020, p.30]

Their fourth album, self-produced and recorded in Berlin, finds the smart hooks and spiky lyrics all present and correct. [Apr 2014, p.69]

It's odd to praise a record for lacking assurance, but her avoidance of contrived resolution feels appropriate. [May 2015, p.84]

Contributions from Angel Olsen and newcomer YEBBA may be more subtle, but reveal themselves to be the real hidden diamonds. [Aug 2019, p.36]

Fortunately, they haven't forsaken their natural songwriting strengths. [Aug 2016, p.70]