A welcome development is Owens' voice: this time, when deployed, it's positioned centrally. [Sep 2020, p.35]

An inspired collection of sonically inventive, discreetly theatrical pop. [May 2017, p.30]

Love In Constant Spectacle, is by some distance her most satisfying album. Full of surprises and tantalisingly familiar, it’s the sound of Weaver stretching out and drawing from her wealth of experience to fashion a heartfelt, head-spinning account of grief and solace. [Apr 2024, p.28]

El Magnifico finds him much the same bruised piano troubadour, surveying red-blooded romantic scars. [March 2024, p.28]

Despite nods to jazzy glitch and ambient glide, most of these beautifully crafted tracks are united by supple but solid 4/4 rhythms. [Aug 2014, p.75]

The finished work is a smorgasbord of all of their best bits. [Jun 2024, p.34]

Few tracks aside, this Volume 2 contains very little trace of the jazz pivot her music would take later in the decade. The outtakes covering that period are going to make fascinating listening. Meanwhile, this feels like a completist’s dream –because even Joni Mitchell’s storeroom sweepings are spangled with diamond dust.

A flexible lineup enabling The Arcs to experiment seamlessly with melody and structure. [Oct 2015, p.71]

[They're] now on their eighth album and still finding something new under the pun. [Sep 2005, p.112]

Multiply marks the full flowering of a singular talent. [Jul 2005, p.99]

Their collaborative debut is inventively dippy. [Dec 2016, p.38]

An unexpectedly excellent set of sinuous and sensual techno. [Nov 2014, p.76]

Dissonance and propulsion remain watchwords. [Nov 2014, p.78]

The result is a work that blends crackling blues, jaunty country and mesmerising folk balladry that sends shards through the heart. [Jan 2017, p.22]

While not quite hitting the heights of the recent Donuts LP, it again proves his brilliant nose for hip hop's pleasure points. [Oct 2006, p.123]

Les Racines is ultimately a full and fierce showcase for Vieux’s own prowess, and his restatement of desert blues. [Jul 2022, p.27]

The results are by turns atmospheric, deeply odd, funky and wistful, but never less than superb. [Nov 2014, p.84]

[A] stunningly well-designed and authoritative record. [Jan 2013, p.77]

More intriguing are the songs that tap into Throwing Muses' vein of chiming offbeat indie-pop, familiar tales of teenage yearning elevated into something more glowing and magical. [Mar 2016, p.80]

Its cut-and-paste of totalitarian rhythms, shredded human voices and celestial melodies something like an Aphex Twin remix of Hieronymus Bosch. [Apr 2017, p.25]

With experiments in disco, dubstep and drum'n'bass all unmistakably Underworld, Barking is the sound of veterans re-energised. [Oct 2010, p.

All the elements of old are there--his voice, those lyrical hankerings to melt away from the limits of life. [Oct 2010, p.85]

Todd Terry and Masters At Work's percolating euphoria warms every groove on this intelligently realized debut. [Mar 2012, p.79]

Ther music is spacious yet intimate, drawing from the dramatic guitar textures of fellow Texans Explosions In The Sky, yet Sun June's hazy songs blur and shimmer at the edges, like a mirage on the horizon. [Review of the Year 2023, p.32]

Langford, as ever, masterfully mixes the personal, the political and the poetic. [Apr 2014, p.77]

All in all, it's a match made in heaven. [Jul 2015, p.75]

Accompanied by a swinging combo in which double bassist Ferg Ireland, pianist Joe Webb and Giacomo Smith on clarinet/sax are outstanding, she captures Vaughan’s depth of expression with perfect control, but proves she’s more than just a talented imitator by authoritatively stamping her own considerable personality on a stark, radical take on “Inner City Blues”, very different from Vaughan’s 1973 version. [Jul 2024, p.38]

Nathaniel Rateliff fully integrates his parallel identities as exuberant frontman, introspective folkie and perpetuator of rock's sacred texts on South Of Here. [Aug 2024, p.39]