Making avant-garde sound both formally inventive and somewhat otherworldly. [Oct 2020, p.29]

What soon unfolds proves to be a profound evolution via the almost operatic crescendo that follows. Over the remaining five tracks, improvisational noise-rock gives way to more considered and structured songwriting, lush melodies and singer Geordie Greep’s new vocal style – which he croons with stirring tenderness. ... There’s not a single predictable second to be found on Cavalcade. [Jun 2021, p.23]

It's a remarkably textural and atmospheric record. [Nov 2025, p.28]

It's yet another display of excellence from an artist in consummate control of his art. [Feb 2015, p.82]

It excels at that classic pop trick of combining the euphoric with the melancholy. [Apr 2005, p.108]

A surreal, tender, revealing record. [Nov 2005, p.104]

It's good to hear him finally write and record with a proper band. About The Light is at its best when it takes advantage of this new freedom. [Feb 2019, p.29]

It's Fohr's stunning vocal that drives the album. [Nov 2021, p.27]

Wilderness take the clang of post-punk and invest it with an elatory fervour. [Sep 2005, p.111]

This is a vivid song cycle that's part ecstasy, part-sadness--but unfailingly lovely. [Jan 2010, p.119]

The Caretaker creates ambient music that doesn't merely settle in the background but is evocative of memory and loss. [Feb 2012, p.83]

This, the follow-up to his lo-fi 2010 debut Learning is a dark business. [Mar 2012, p.97]

The album is only 30 minutes liing, but that's plenty enough exposure to live electricity. [Feb 2017, p.26]

Like Felt Before them, The Clientele have completed a commercially neglected yet conceptually immaculate decade, mapping, across four albums and a couple of compilations, a twilit suburb of English pop, as though a young TS Eliot had fronted The Zombies. [Jan 2010, p. 105]

DM's production is unfocused but showy and the album's postmodern lurches suggest a frustrating attention defecit disorder. [Jun 2006, p.90]

Like Lubomry Melnyk's, Moore's rapid piano-playing creates an appealing haze on "Starwood Choker" and "Form Takes," while his companions augment this with similarly opaque washes of tape delay, spectral drones, bass and woodwind. [Mar 2017, p.25]

They may have defined a genre, but Low can clearly still move forward. [May 2007, p.99]

Even by Deftones standards, their eighth album is hardly immediate. [May 2016, p.71]

Sergio Mendes meets Sparks then plunders Charles Mingus? Could be. [Aug 2006, p.95]

Some of the tracks can sound exhaustingly out-of-phase, but such sonic wonkiness works brilliantly on the hypnotic thumb-piano minimalism of "Down And Out," the Afro-funk of "In Praise Of Homeboys" and the Congolese heavy metal of "The Ploughman." [Aug 2014, p.75]

The gorgeous psychedelic soul of "Pineapple Skies," the Prince-like strut of "Told You" and the rubbery Latin funk of "Caramelo Duro" all reaffirm Miguel's status as the most versatile talent in R&B's avant-garde. [Feb 2018, p.30]

Showcase[s] his deep knowledge of American and British folk music and deft picking style that is sophisticated but never ostentatious. [Aug 2018, p.33]

The way it weaves this constellation of influence and artfulness into 10 songs that are lighter than air, deceptively simple, yet cumulatively, surprisingly moving. [Aug 2022, p.32]

Almanac Behind's message rings loud and clear. [Dec 2022, p.25]

At its best, The Magic Whip thrums with ideas and possibilities. [May 2015, p.65]

The garbled way in which The Coral piece these disparate elements together creates an odd, timeless and cosmic music, buzzing with energy, and very much their own. [Apr 2016, p.80]

The sound is rather dry, and James Murphy's vocals have sounded stronger, but the different nuances audible in "Us V Them" and "Drunk Girls" make this if not a bang, certainly very far from a whimper. [Jan 2011, p.93]

LC! balance their more precious tendencies-winsome vocals, chiming xylophone--with a sharp wit and ideas that arrive in energetic tumbles. [Mar 2008, p.88]