"Feedback Delicates" and "L'Quasar" shelter their hooks amid shimmery, heatstroke production; but there's an urgency here, too. [Nov 2016, p.40]

The territory--dark skies, open roads and femme fatales--gives a gothic edge to even the most tender sentiment. [Aug 2005, p.98]

This album proves that Collins – if she so wishes – still has more to give. [Jun 2023, p.18]

Seattle three-piece Night Beats swoop into Who Sold My Generation oozing confidence. [Mar 2016, p.77]

The lissom guitars of brothers Dallas and Travis Good still allow for thrilling detours. [Nov 2007, p.121]

Americanized rock'n'roll that sounds as modern as it does vintage 1970s and effortlessly blends AC/DC riffage, Fleetwood Mac AOR and White Stripes punk-blues pyrotechnics. [Mar 2012, p.79]

It's mostly beautiful, and very civilised. [Oct 2008, p.81]

Throughout the mammoth album, barely a minute is wasted as Endless Boogie superimpose wild guitars on even wilder ones. [Mar 2013, p.78]

Old friendships contribute to the good vibes, and an atmosphere that's at once rambunctious and exploratory. [Apr 2015, p.76]

His eighth solo album will no doubt satisfy dedicated fans, but for those lulled into inattentiveness somewhere along the way, Tracker also makes an excellent case for re-engagement. [Apr 2015, p.70]

Here, the presence of a harmonium updates some lava lamp pyschedelic freakouts, David Axelrod's jazzy grooves and the feathery female harmonies of The Free Design, whose Chris Dedrick provides sleevenotes for the vinyl. [Jun 2009, p.101]

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

The band's plush indietronica is still in place, but there's greater warmth and imagination, and real consistency. [Mar 2010, p.79]

Images abound of betrayal, compromise, opportunities selfishly squandered. But a kind of redemptive enlightenment emerges. [Aug 2017, p.34]

So well-crafted is his music, so fleshed out are his concepts, that you can perhaps see why he’s chosen not to hitch his sounds to another’s vision. An album like Entangled Routes doesn’t need to be tied to moving images to reach its potential. Press play and it works its magic, imprinting its strange and fantastic visions direct onto your mind’s eye.

Boland’s previous releases (stretching back over 20 years) have only hinted at such levels of ambition, but The Light Saw Me is expertly realised, as playful as it is metaphysical.

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

On older Bartx compositions "Uhuru Sasa" and "Dr Follows Dance" they sound like a Herbie Hancock-less Headhunters; while "The Stank" is a jaunty boogaloo. [Jul 2020, p.27]

Rammed with stinging hooks and ringing harmonies. [Oct 2005, p.112]

Beguiling. [Oct 2005, p.107]

She produces a cumulative effect that's both shattering and exhilarating. [Jan 2017, p.31]

What sometimes seems like attrition - "Paradise Is Mine's" relentless hammering, "Ebbing's" pounding 11 minutes - can, nevertheless, deliver ritualistic euphoria. [Jul 2023, p.34]

Earl has often been overshadowed by bands on the Woodsist label he runs, but here Woods are allowed to stand out from the trees. [Dec 2012, p.79]

This LP could serve as a document of an improvising four-piece at its best. [Review of the Year 2024, p.32]

21 haunting, electronic vignettes. [May 2020, p.35]

A dynamically nuanced, nine-song set that conjures real-world wonders as convincingly as a doomed voyage to some imagined, far-flung galaxy. [Feb 2015, p.82]

Played loud, King Night is a widescreen hallucinogen. [Oct 2010, p.104]

A cover of 'Flower Sun Rain' by '70s Japanese supergroup Pyg sounds like the Super Furries, while a 16-mkinute doom jam with SunO)))'s Stephen O'Malley is as titanic as you'd hope. [May 2008, p.91]