A ferociously Velvetsy turn from Brian Jonestown Massacre's Anton Newcombe on Istanbul IS Sleep only highlights how mind-blowing The Liminanas could be if they ventured further from the shadows. [Mar 2018, p.111]

By packing 21 tracks onto a half-hour running time, he never gets stuck too long in one grove. [Sep 2011, p.104]

This is his most pleasing solo album for a decade. [Mar 2008, p.108]

There's breezy charm to much of the music here. [Feb 2015, p.117]

It's very much a period piece, but a very enjoyable one at that. [Feb 2012, p.107]

Still on polyhedric form. [April 2012, p.102]

It feels like a middling album that would've made an incredible EP, but when Wiley thrills, he really thrills. [Jul 2018, p.116]

Nearly, but not quite. [Jul 2009, p.117]

Although reaching a touching peak on melancholic closer City By The Sea, two albums in Good Shoes still lack a defining personality of their own. [Feb 2010, p. 107]

High On Fire sound like Lemmy fronting Black Sabbath on a Slayer tribute night. [Apr 2010, p.106]

For better or worse, this is exactly how you'd expect the third Leftfield album to sound. [Jul 2015, p.107]

Yet when they stop arsing around for the sake of it, Blink-182 write some very good pop songs. [Aug 2001, p.124]

An interesting stopover on a journey marked by constant curiosity. [Oct 2019, p.110]

No longer ahead of his time, he has a deft enough touch to keep irrelevance at bay. [Jan 2003, p.120]

Neither subtle nor very shocking, it still sounds as if Manson, Countess Bathory-style, has received a shot of fresh blood. [Nov 2017, p.111]

A curio, for sure, but worth saddling up for. [Dec 2018, p.114]

He remains a maestro at the mixing desk, even as the album's split-down-the-middle concept undermines his genre-splicing strengths. [Jan 2020, p.106]

This feels like a flying visit through an impromptu victory party. [Dec 2015, p.107]

Their second album may not pack many surprises, but vocalist Haley Shea proves engaging company. [Apr 2020, p.113]

Completists will be delighted that songs as good as Cars Can't Escape and Kicking Television have been rescued from the dead zone of soundtracks and bonus discs but there's a lot of competent Americana and superfluous concert material to get through. [Jan 2015, p.139]

They often strain too hard to showcase their musicianship. [Apr 2008, p.112]

Though the younger Dylan hasn't the gravitas of those old masters, his best songs such as 'Will It Grow,' have an easy downbeat charm. [Aug 2008, p.135]

At times--'Little Secrets,' despite its kiddie choir, 'The Reeling' and 'Moth's Wings'--it's a little too cloneishly Jake Shears for comfort. At other, though, they soar with MGMT-esque widescreen vitality. [Jun 2009, p.130]

Older, possibly wiser, cleaner and sounding as majestically ramshackle as ever. The only snag is that their new album is a live recap of their career highlights with no new songs to justify it as a comeback. [Aug 2017, p.108]

Broadcast are detached and austere, but mesmerised by their discoveries in the radiophonic workshop. Current single Echo's Answer and the unusually upbeat Come On Let's Go are the best places to start, but this is a classic case of an album working as a whole. Hard work, but compelling.

Loveless-era My Bloody Valentine is still their touchstone, with dreamy vocals almost obliterated beneath washes of distoortion on "I Just Want To See Your face" and "Reprobate!," but they also thorw curveballs. [Apr 2010, p.119]

The band's simmering anger are leavened by a sophisticated musical backdrop utilising brass and keyboards. [Sep 2017, p.109]

The result is one of his most rounded, fulfilling solo records. [Jul 2014, p.111]