Fistfuls of dirty riff'n'rolll with a side order of voodoo and psych. [Jun 2017, p.30]

Shows off a rare side to Blunt: a soul-baring sincerity. [Sep 2021, p.25]

Their debut burns through 11 tracks in 27 minutes like acetylene torch burns through butter, as spin-on-a-dime tight as it is exhilaration unsubtle. But there's more to Amyl than visceral wallop--namely Amy Taylor. [Jun 2019, p.23]

Pokey LaFarge's seventh long-player echoes and expands his mastery of bygone styles. [May 2015, p.75]

It's quite lovely, and manages to be simultaneously mournful and innocent-sounding. [Oct 2009, p.106]

Exceeding his early promise, Vynehall has produced a richly original debut to rank alongside his musical heroes, from Gavin Bryars to My Bloody Valentine to Aphex Twin. [Jul 2018, p.37]

A frighteningly powerful record. [Jan 2003, p.124]

A fascinating and deeply rewarding journey through the ages. [Aug 2019, p.38]

Throughout the album, melodies stop and start like film scores: they change key, tempo, time signatures and even musical genres to suit the flow of the story. [Sep 2017, p.22]

Gelb's masterstroke is the inclusion of Brian Lopez, Gabriel Sullivan and Jon Villa, whose flourishes of Tex-Mex and cumbia accentuate Tuscon's feel of pan-cultural enchantment. [Jul 2012, p.70]

What sticks with Space 1.8 is the focus of its vision: precise like mathematics but imbued with a rich, cosmic breadth. [Nov 2021, p.32]

Despite its old-school roots, Lady Parts sounds sharp and invigorating. [Oct 2016, p.31]

The Rapture have picked themselves up with a third album packed with ragged romps every bit as joyous as "house Of Jealous Lovers," their 2002 breakthrough. [Oct 2011, p.95]

14 beautifully broken-hearted tunes about just what the album title says. [Dec 2017, p.33]

This is creating at its most creative as he thrillingly twists the blues into phantasmagorical new shapes with an almost Beefheartian sense of adventure. [Oct 2012, p.83]

All in all, another album of low-key brilliance. [Sep 2005, p.114]

[This LP] is rammed with coming-of-age songs masquerading as outlaw tales, driven by Smith's happy knack for finely chiseled narratives and a great blustery voice that roars through bluegrass shanties. [Nov 2012, p.85]

The gorgeous psychedelic soul of "Pineapple Skies," the Prince-like strut of "Told You" and the rubbery Latin funk of "Caramelo Duro" all reaffirm Miguel's status as the most versatile talent in R&B's avant-garde. [Feb 2018, p.30]

Magazine 13 flits between Art OF Noise preset chintz, serene Vangelis miniatures and serrated Knife-like techno primitivism with such aplomb that it's tempting to view this as either a very good inside joke or striking outsider art. [Jan 2015, p.67]

Old Yellow Moon is not, however, a sombre anticipation of mortality akin to the American Recordings series of Crowell's one-time father-in-law Johnny Cash. The general tone of Old Yellow Moon is of faintly rueful happiness at being here, doing this. [Apr 2013, p.68]

There's an equally brutal, pulverising mix of guitars and electronics elsewhere, but they surprise more often than not. [Jun 2019, p.34]

If corralling the chaos is their new MO, they made a smart move. [Aug 2011, p.81]

Pure musical alchemy. [Aug 2023, p.29]

If the relationship to the original often seems tenuous, there's nothing abstract here: each note wrings something potent and direct from its origin. [Nov 2013, p.76]

Safe to say Wild Winter is no Mariah-styled bauble-fest, but it's all the better for it. [Jan 2016, p.80]

Throughout, the songs are delivered with a powerful undertow that recalls Emmylou Harris' Wrecking Ball. [Feb 2017, p.33]

Shelter From The Ash displays some pretty wigged-out guitar work, but balanced by ruminative, minor-key acoustic moments that recall the mood of America's "Horse With No Name."

Producer Robert Glasper adds a jazz sensibility lacking from Fele's original albums, while Carlos Santana shreds on Black Times, but it's the Egypt 80 big band who are the stars. [Apr 2018, p.29]