A prophetically titled record that does exactly what it promises. [Jul 2011, p.94]

The album is dominated by her fine, Jolie Holland-style whimsical vocals, backed by gorgeous arrangements from the mulch-instrumental band. [Mar 2013, p.70]

Two Gallants can swagger and rage like The Black Keys, but they can also find moments of ambient bliss to complement songs of helplessness and regret. [Mar 2015, p.82]

More than once, it is difficult not to drift into wistful contemplation of the splendid, unreconstructed rock'n'roll racket of which they might be capable if they tried underthinking things for a change. [Aug 2016, p.74]

This is one of the heavier and more accessible entries in their labyrinthine discography. [Jan 2009, p.102]

Blue Songs journeys as great LPS should do. [Feb 2011, p.89]

Sally Shapiro continues to revel in this cheesy yet faintly psychedelic sound. [Mar 2013, p.76]

Voyager is awash with cascading Jean-Michel Jarre-ish Eurosynths and pulsing Moroder-esque Rhythms. But Arbez-Nicolas eventually diluted his plan by adding contemporary beats, noises and guest vocalists. [Feb 2017, p.38]

For his last couple of albums, cowpunk songster Snider has pitched himself in the sort of satiracally confrontational and liberal-minded territory occuupied by Randy Newman or Steve Earle. Peace Queer follows that pattern. [Jan 2008, p.113]

The better tracks are ones where Lydon stops grumbling about the modern world and creates his own mythic universe, both lyrically and musically. [Sep 2023, p.22]

Her split personality makes for an oddly polarised debut. [Feb 2011, p.84]

The album's heavily layered ambi-rock confections indulge the duo's mutual love of spangled guitar effects, tinselly twinkles and pearly dewdrop shimmers. [Mar 2012, p.97]

A delightful, horn-infused love letter to Morrissey's best solo work. [Apr 2016, p.76]

The album title translates as "chameleon butterfly" which sums up the surreal ambience nicely. [Sep 2016, p.74]

Orbit sees their shared musical predilections slide furthrr into focus. [Sep 2017, p.32]

A friskier beast than usual. [Jan 2018, p.29]

Much like The Head And The Heart, it's all mid-paced, with subject matter also inevitably static. [Oct 2020, p.32]

There are poppy moments--the churning "What Have You Done For Me," and deceptively tranquil "Dead At The Wheel"--but otherwise the Jarman brothers have restrained their more melodic instincts to create sludgy monsters like "Year Of Hate" and storming closer "Broken Arrow." [Oct 2017, p.26]

Nine Black Alps possess a secret weapon befitting a band whose emergence sparked a transatlantic A&R scramble: tunes. [Jun 2005, p.104]

This follow-up feels less homemade, but just as delicately adventurous. [Oct 2009, p.108]

Arthur stacks his vocals throughout, while his arching guitars, concussive programmed drums and resounding handclaps interlock with Buck's springy rhythm beds. [Jul 2018, p.24]

These 18 collaborations are a fascinating voyage through the classier end of pop, country and R&B over the past decade, and also add much needed focus to Jones (sometime insipid) mix of country and smooth jazz. [Jan 2011, p.93]

A frequently startling record of no little beauty--which threatens to launch a new, esoteric generation of Williamsburg wonders.

Part inspired, part impenetrable. [Mar 2006, p.104]

The quality varies but certainly hits the mark here and there. [Dec 2014, p.81]

Quarters four 10-minute jams allow them instead to indulge their more experimental side. [Jul 2015, p.77]

Like all the best of heavy metal, effortless dumb good fun. [Nov 2011, p.89]

Ultimately though, Tennis are too polished and MOR to rival the peaks of the trio's edgier peers. [Mar 2012, p.101]