Pristine miniatures dominate, but the title track allows a more searching exploration of more ambiguous ambiences. [Feb 2018, p.29]

Icy washes and brittle synth clanks complement the pair's wintery vocals. [Nov 2011, p.107]

Pleasingly grubby debut LP. [May 2021, p.25]

A moving tribute to an unsung talent. [Jan 2016, p.75]

The expanded palette, majoring on warm, Dylanesque waltzes and rolling country-rock, brings out the colours of the songs even if, at 17 tracks, it trades in the focused intensity of Ruminations for something looser. [Apr 2017, p.35]

This handsome debut bristles with ideas that could lead to some truly remarkable music later on. [Mar 2012, p.89]

While there's a hefty serving of funk on "The Clone," Sherwood keeps his distance, bringing space to psycho-ballads such as "Abracadabra" and "Monocle Man" as the pair reassembled their skeletal, wheezing pop in intriguing new forms. [Jun 2016, p.74]

If you want epic, check out the eight-minute sprawl of 'Mary Is Mary.' For a bit more raw noise terror, try the speed-rush of 'Tattoo.' [Nov 2009, p.117]

Provides a gentle but subtle introduction to the sometimes onerous world of avant-techno. [Apr 2003, p.122]

It's by some ways the finest of the three iterations. [Oct 2020, p.36]

Perhaps for the first time, The National sound relaxed in their skin. [Jun 2013, p.77]

This is a brief--a mere eight tracks, just under 40 minutes--but incredibly intense wall of sound. [Apr 2010, p.92]

Her most universal album yet. [Sep 2019, p.27

Furman's distinctive shrieking, poetic phrasing and postmodernist perspective prevents the work from sounding overtly derivative. It instead borrows the best qualities of its forebears, and fuses them into something new. [Sep 2019, p.22]

You could mount an argument that these are the definitive performances, although that probably isn’t the point – the idea is to view these time-honoured tunes from a surprising new vantage point. Whatever, you leave Mulatu Plays Mulatu in reverence. Astatke’s status – as gifted musician, visionary bandleader and eternal innovator – is forever assured. [Nov 2025, p.34]

Probably the most potent album she's made since Broken English. [Nov 2004, p.102]

An album that proves he's worthy of the legacy he cherishes. [Apr 2002, p.102]

Terrific, genre-flipping from Seattle collective. [Jun 2011, p.92]

Some of their most startling material has always been found down the back of the sofa, among such relatively unconsidered trifles as "In The Back Of My Mind" and "Angel Come Home." [Oct 2013, p.82]

New Fragility is emotionally fraught but musically generous. [Mar 2021, p.28]

This is raw, inventive stuff. [May 2007, p.88]

These 10 sheeting, luminous soundscapes lean into the band's considerable pop smarts as well as their soundtrack and post-rock mastery. [Jan 2025, p.39]

Desertshore is really only the jumping-off point (Beachy Head?) for an album of ultimately rather bleak electronic songs.... The strongest performances, in fact, come on the two tracks vocalled by Cosey herself.

There's nothing fake about the purgatorial narrative of songs such as "Nobody Knows My Trouble" and "My Diamond Is Too Rough." [Feb 2015, p.74]

it's a fitting summation of a remarkable career. [May 2025, p.36]

Hayden Norman Thorpe's falsetto squawk is the controversial focal point but his lust for language is equally extraordinary.

It's Religious Knives' proto-PiL, art-punk minimalism and addiction to the motorik groove that mark them out as different. [Nov 2008, p.117]

Its distinctive musicianship leads to some powerful moments. [Jun 2018, p.35]