This push-pull between melody and twisting beats, veering back and forth between dark and joyous moments, is the crux of this excellent album, one that glides snappily between acid electro, synth-washed indie, crunchy pop and dance-floor rippers. [Aug 2022, p.36]

This captures The Cure at their crowd-pleasing best, an ageless band reveling in their past. [Feb 2012, p.83]

The rhythmic, melodic and thoughtful After The Disco stands as impressive proof of the strength of their partnership. [Feb 2014, p.74]

The songwriter’s takes on treacherous relationships come with a Vampire Weekend-ish talent for a multi-part melody and Phoebe Bridgers’ ear for pertinent one-liners, the stately “Underwater”, “Move Me”, the title track and bedsit-ABBA kiss-off “Cold” all deep, powerful, overwhelming. [Sep 2022, p.23]

These are beautiful songs with a murderous heart. [Feb 2012, p.90]

The Great Pretenders inhabits that dreamy lysergic terrain staked out by The Flaming Lips and early MGMT. [May 2015, p.77]

There's an effortlessly freewheeling quality to the 10 songs. [Jul 2019, p.34]

Disarmingly playful, deceptively gripping, its songs at first seem wayward, erratic, but soon enough reveal their own internal title song. [Nov 2009, p. 83]

Somedays is full of great, blues-tinted folk songs. [Nov 2009, p.102]

A Doug Sahm/CCR vibe runs through much of this debut. [Jun 2015, p.71]

[A] darkly beautiful tour de force. [Jun 2016, p.75]

Everything's fuzzy, fractured and out of focus, which makes it all the more mesmerizing. [Jun 2012, p.74]

The songs boast a quality of spaciousness and delicacy that was rarer on 2018's otherwise very fine Lionheart. [Sep 2020, p.32]

As ever, you wish they'd stretch out and jam a bit more in the studio, but this might just be the most satisfying CRB set since 2012's Big Moon Ritual. [Sep 2017, p.37]

Songs like "of Lucky Hand" and "Deathwish Blue" see him shed the more chameleonic nature of last year's Full Circle Nightmare and more fully establish his own raggedly glorious sensibility. [Aug 2019, p.29]

As steel guitar groans and floats away like dying stars at the close and Raymond bends drones to her will, John Cale's singular Welsh spirit feels near. [Oct 2025, p.32]

Among The Ghosts is Lucero's most cinematic album. [Sep 2018, p.37]

The film blurs lines between horror and ink-black comedy, and Krlic's score, texturally vast, moodily versatile and unnerving without being bombastic, moving deftly with it as one. [Oct 2019, p.29]

A big, baroque fusion of sharp garage, paisley pop and '70s sleekness, finished with a coating of Terry Jacks sentiment. [Jul 2004, p.104]

Amid the cheap preset funk and curdled interludes, Bouaziz enchants with moving pieces such as "Heartbeats" and "Hero." [Aug 2014, p.74]

Whereas so much downtempo leans heavily on two-note, oceanic synth washes, Blue States are masters of detail. [Sep 2002, p.111]

A most welcome return. [Dec 2025, p.31]

Young Americans is one monster hit album, but stripped of "Fame," the record's pre-Lennon form as The Gouster makes an immersive, alternate take on Bowie's Sigma sessions. [Nov 2016, p.49]

Though Requiem doesn't quite match the free-flowing intensity of some of Goat's earlier work, it's continually enriched by a fervent sense of joy and abandon, and an infectious eagerness to get lost in music. [Nov 2016, p.28]

The set ebbs and flows, Cave alternating between charming and cajoling, vulnerable and scathing. [Jan 2026, p.24]

A startling album. [Aug 2005, p.98]

Until The Colours Run casts a spell which lingers. [Oct 2013, p.71]

They still sound unique today. [Jan 2019, p.41]