It's a deeply ambitious debut offering. Musically, it ducks and weaves like the shape-shifters that populate its world. [Feb 2021, p.30]

A sumptuous feast. [Sep 2023, p.24]

Thurston Moore’s ninth solo album might begin with a weirdly angular nursery rhyme set to sparse plucked strings but he’s soon bending his guitar into all sorts of freaky shapes on an album that stands among his best solo works. [Oct 2024, p.37]

Beautifully curated collection. .... It's rare for familiar work to be re-contextualised in such a way that you hear it with new ears. But that's exactly what happens here. [Oct 2025, p.48]

One of its overarching joys is its relative directness, very much a conscious deciaion on the group's part. This is Deerhoof we're talking about, though - they still play it like they're hurtling towards collapse at breakneck speed, before pulling everything together with a fantastic flourish. [May 2023, p.28]

The lovely songs have such a languid unity of purpose. [May 2016, p.75]

Another Szunny delight. [Oct 2018, p.34]

For the most part, though, this is the Manics as you'd want them to be--thrilling, bombastic and sometimes ridiculous, but still raging. [Aug 2014, p.75]

It's their angriest, jitteriest and most aggressive album since their early-90s heyday, and on "Reagan Youth" and "All For You" Superchunk sound like a hardcore band half their age. [Mar 2018, p.32]

The Sleaford Mods we hear on Spare Ribs sound more comfortable in their own skin, relaxed enough to explore their eccentricities. A tart, sometimes topical edge remains. [Feb 2021, p.35]

The big swings taken here serve them just as well as the coiled intensity of their first releases. [Jun 2021, p.27]

It does feel [like] a somewhat softer collection than its predecessor. [Feb 2012, p.84]

Slick and seductive. [Nov 2014, p.78]

These are thoroughly modern songs--and very much Harding's own. [Jun 2017, p.30]

The 11 original compositions here are full of warm compassion and ripe wisdom. [Sep 2020, p.27]

With their abundance of charm and good cheer, the performances ensure the patchier numbers still satisfy. More genuinely impressive are "You Get The Feeling" and "Hell On Earth", corkers that demonstrate the creative chemistry that was there since moment one. [Mar 2026, p.37]

It's evolution not revolution, putting its author's sound deeper into her own context. [Aug 2020, p.32]

The whole is a total joy, a triumphant demonstration if the virtues of the music celebrated in the rollicking "It Came From The South." [Sep 2018, p.29]

Transience might just be his late-career peak--a deliciously sour, sarky and occasionally moving study of modern life and his place in it. [Jun 2019, p.37]

Finger-poppin' fantastic. [Jul 2023, p.36]

The irresistible “It’s Mine Now” cheats tragedy by taking ownership; “Siren Song” finds its folkloric sea legs after flailing; “Grand Final” grabs the moment with jubilant pop panache. [Oct 2024, p.40]

A bewitching album. [Mar 2025, p.31]

Plenty of musicians have subsequently tried to channel that weirdness. Rose, though, always seemed to explore ancient territory with vigour and good humour on his records - and Luck In The Valley, his last, is one of the best.

If you lost touch with Cowboy Junkies some time ago, perhaps taking their unhurried grandeur for granted, All That Reckoning presents a brave, beautiful and timely opportunity to pick up the thread. [Sep 2018, p.24]

Though occasionally guilty of easy-listening tastefulness, the Haikus rarely sound less than gorgeous. [Oct 2021, p.28]

There is something about this music that is warming, aqueous, immersive and endlessly engaging. [Mar 2024, p.18]

It is short--just over 30 minutes--but it feels sprightly and substantial. [Oct 2015, p.84]

Opener "diaphanous" appropriately shimmers, its murmured refrain like a private pep talk as the song builds around it. [Sep 2020, p.31]