Harding goes wherever her voice takes her, and like fellow apostate traditionalist Richard Dawson, she is comfortable picking for shiny scraps of melody on the hard shoulder. As a consequence, these songs command close attention but – like the messy universe around them – do not necessarily beg to be decoded. [Apr 2022, p.18]

A perfectly formed masterclass in early hours reflection. [Aug 2020, p.82]

In places it has a feel of soundtrack work, strangely restrained for such club fiends, but their grasp of pensive, unsettling dynamics is firm. [Jan 2013, p.80]

The set ranges ambitiously from hypnotic, twisted love songs such as "103" and the title track to the warped gospel undertones of "My Girls My Girls" and "LA Hex", courtesy of the Compton Kidz Club Choir. [Dec 2023, p.31]

It's a feast of contextual songwriting and sizzling guitar. [Apr 2012, p.83]

Stand For Myself is a headphones album, lovingly written, arranged and produced. [Aug 2021, p.32]

While all this makes for a rich, dense and sometimes overwhelming offering, Amos still ensures there's some light amid all this darkness. [May 2026, p.25]

An epic study of sand and celluloid. [Oct 2011, p.98]

This is a more low-key collection. [Feb 2012, p.94]

All American Made marks both a hardening and a deepening of Price's sound. [Nov 2017, p.25]

From dive-bar romps to plaintive reflection, this is his strongest collection for some time. [Nov 2018, p.30]

The Nashville-based songwriter's toughness and tenacity soars through her brand of showstopper 1970s country. [Jul 2020, p.39]

A rich, dense, cinematic journey into inner space. [Dec 2020, p.30]

Hanson has imbued this LP with a thematic and musical cohesiveness that makes it the finest record of his career to date.

They waltz from space-jazz ("In Cucina") to disco-dub ("Phase One Million") and library scat-funk ("Tub Erupt"), the whole thing tied together by Cathy Lucas's dusky delivery. [Dec 2021, p.35]

Angels is spacier than previous outings, nowhere more so than the semi-improvised 20-minute title track. [Mar 2011, p.88]

A dazzlingly clever record--great beats, brilliant production, top tunes and some of Albarn's best singing. [Jun 2005, p.106]

The selections on this earworm-packed compilation prove that the limitations of 8-and 16-bit technology and the era's primitive sound chips were no obstacle to the most determined composers. [Jan 2018, p.43]

Football Money packs a melodic punch. [Mar 2020, p.30]

While a little lacking in variation, it’s a most welcome return for a band who have come out of retirement but still know how to land a punch. [Sep 2024, p.36]

It's every bit as good as their debut. [Nov 2008, p.109]

Henriksen's flute-like playing has a uniquely spittled, raspy quality that lends it a rare vulnerability. [Jul 2017, p.30]

It's the band's ability to so gracefully coexist in these seemingly contradictory worlds that makes them such an inimitable outfit all these years on. [Oct 2020, p.39]

That the album never loses it s way is testament to Deacons' fearless approach, his mastery of different genres and from the thrilling sense of urgency that propels it all forward. [Oct 2012, p.75]

The gentlest Six Organ's outing since 2005's School of The Flower, if not for the menacing rumblings in "Taken By Ascent." Even so, it's more vivid proof of Chasny's ability to create transcendental music free of psych cliches. [Mar 2017, p.39]

Companion Rises is unmistakably Chasney's journey, and it's wonderful to come along for the ride. [Mar 2020, p.34]

Blackshaw creates multiple orchestral effects with his instrument alone, each strum resounding like multiple windchimes. [Aug 2009, p.87]

It's relentlessly repetitive in style and mood, but Lindsey's howling hormonal rage still feels exhilarating. [Aug 2011, p.97]