The visionary meditations of John Tavener are a touchstone, and though used sparingly in the film's final cut, this dark, unsettling music stands proudly on its own. [May 2011, p.87]

Iconoclastic and visceral, Squarepusher is punk rock 2002. [Nov 2002, p.132]

Quite mesmeric. [Oct 2025, p.31]

Sound Mirror pursues a roving brief set to a pop aesthetic. These are compact but restless songs. [Jul 2014, p.81]

Among The leaves is entirely consistent with the rest of Kozelek's fine catalogue. [Aug 2012, p.63]

Pulverising noise is not entirely absent – the sludgy riffs of “The Fallen” growl ominously – but they are largely replaced with more atmospheric explorations, Wata’s gentle vocals and tracks that slow and quieten down to reveal a tender exploration of texture. [Feb 2022, p.26]

Their battery-acid sharp Dransfields harmonies and uilleann pipe drones ensure their second album is powerfully strange. [Dec 2017, p.28]

A voyage of rediscovery through terrain whose appeal remains undimmed by time and familiarity. He treats the blues with the respect it deserves, but he aims to have fun along the way, while proving that, at 80, he still has the voice – albeit an octave or so lower than in his early days – to make the material live again. [Mar 2026, p.24]

You may not be whistling these songs or dancing to them, but Biophilia's unsettling visions are compelling art. Oct 2011, p.92]

So far, so agreeable, but a minor niggle is that Morrison evidently continues to favour comfortable rather than challenging accompanists. Then the album hots up.

Taken on its own terms, though, Nouns is a righteous success: delightfully dazed, good-times punk rock for a new generation of Californian dreamers.

On this debut album they already sound fully formed, despite only having come together in 2016. [May 2019, p.37]

A happy music that isn't bland; Held In Splendor makes that toughest of tricks sound easy. [Mar 2014, p.82]

An ear for arrangement detail — be it fuzzy synths or rustic washboard-like percussion — lifts often simple, acoustic-led songs into enduringly captivating territory. [Oct 2022, p.36]

Sunday At Devil Dirt inhabits the same scorched earth, but is a more confident record. Ironically, this confidence manifests itself in an understated vocal performance from Campbell, leaving the spotlight on Lanegan’s dusty baritone.

Spry, antic and engaging. [Jun 2017, p.34]

Uber-angsty but hugely exciting. [Jun 2016, p.74]

Little Simz' identity shines through on this bold, vibrant and genre-busting record. [Jun 2025, p.35]

Rufus reins in his extravagant tendencies for a subtly shaded, seductive album that radiates warmth and contentment. [May 2012, p.84]

Throughout, his instrument is recorded so close, it practically lassos your ear with its strings. [May 2011, p.94]

Sometimes diaristic, sometimes philosophical, it's a long litany of past memories and formative moments that, while demanding patience, gradually inches its way to somewhere profound. [Oct 2020, p.34]

Hones the Southern harmonies and guitar-pickin' crosstalk of the brothers Good. [Nov 2004, p.116]

This is a finely paced album, mirroring the rhythm of the calendar and getting choppier as it moves toward the midway point. [Feb 2011, p.99]

There's a dash of Yeah Yeah Yeahs about the opening scenes of this Brirtsh Columbia band's vivacious third album, which should have them gracing bigger indie dance-floors. [Jun 2010, p.109]

Singular and unsettlingly sophisticated. [Jul 2015, p.76]

Giske spins the likes of “Cruising” and “Void” into bold extended pieces that are gripping in their poignancy and intensity. [Dec 2021, p.27]

These songs fizz as freshly as if the group have only just discovered that combination of the post-punk pugnacity of prime Attractions with the acerbic disquisitions of a spoken-word Springsteen. [May 2023, p.28]

The Kid is a hugely satisfying example of Smith';s wholesome and harmonious vision, one that manages to enmesh the wonders of music, memory and nature via analogue synthesis with out explicit reference to the healing properties of crystals. [Nov 2017, p.38]