This is a wonderful swansong for a musical mind so delectable and fascinating and so deeply missed; every minute is filled to the brim with gloriously meandering, unpredictable chord progressions and zany, angular riffs to bang one's head along to in awe and uncertainty. Even in the songs helmed by new lead vocalist, Mike Vennart, or in the lyrics written by Emily Jones for the closer 'Pet Fezant', I hear Tim everywhere. And like every Cardiacs release prior, it rewards multiple ... read more

Each bit of instrumentation drips with emotion, as does Isaac's delivery. The second half of this is mega, and 'Basketball Shoes' is a behemoth of a closer, providing the most wonderful, cathartic ending to an album so centred around heartbreak.

Yeah, it doesn't have the zing that the self-titled possesses, but this is still pretty boogie-worthy.

Chaotic yet still detailed. So many strong tracks here, from the structurally sound 'Black Paint' to the absurdity of 'Disappointed'.

Such a bright LP, bursting with colour and energy. The guitar work during 'Pomeranian Spinster' is my personal favourite highlight.

I've been so tempted to give this 100 purely because no other album has ever quite had me in a chokehold like this one, but I'll admit, I used to skip 'Ode To Boy' before it eventually grew on me, and 'Perfect' falls just tiny bit flat. Aside from that, the experience I have listening to 925 is so wonderful. Each track has a perspective, and so the resulting 43 minutes has moments of angst, darkness, tenderness, infatuation, disorientation—I could honestly go on. Additionally, Asha and ... read more

Absolutely addictive. This has some of Death Grips most sporadic and exciting work.

Moments of bliss and brutality are aplenty in Peggy's 'All My Heroes Are Cornballs'. An incredibly captivating experience.

Just wow. Peggy's flow, delivery and production are enthralling.

I can't believe I hated 'Love Me More' for so long; something about it just clicked tonight.

Restraint and mania forced together fabulously with utmost grandeur.

I have utterly fallen in love with this album. It's so full of zest and energy, which is absolutely driven by the countless spiky riffs and groovy baselines. Slight variations in the vocal delivery give each track a unique characteristic through the album's consistent sound; it never strays too far, but doesn't stick to an idea for longer than necessary.

Short, but sweet.

No Love Deep Web's highest points are when it's laced in evil bass and thumping drums, however, this leaves some of the more minimal tracks feeling meek in comparison.

Half these tracks get old real fast. Don't think I can learn to love it in the way I did with their previous effort. Loses all it's momentum in the latter half of the LP.

This honestly makes Van seem sophisticated, and I can't help but love it's sheer chaos. I've never felt more confused when listening to music and yet still ended up strangely enjoying it. Seriously, I don't think anyone should be silently partying to 'The Area 51 Snack Bar Sucks' alone on their bed—still, here I am.

It's an absolute hoot from start to finish. I love each of these incredibly short tracks, even McDonalds for it's sheer stupidity.

This album spends it's majority simmering around okay to good, though with that being said, there's nothing that I hate here either. It's energetic, fun, and actually quite tender at points.

From the uninhibited riotous energy of Mis-Shapes all the way through to the slightly weary end-of-a-night-out tune that is Bar Italia, 'Different Class' is a flawless album that describes so wonderfully what it means to be spectacularly ordinary in the UK.

Gorgeously haunting. I live for Sorry's endless melancholy and the wonderfully put together atmospheres of these tracks. 925 is pretty untouchable in my eyes, though Anywhere But Here is an incredibly strong follow-up.

Hits a few highs in tracks like 'Back To the Radio' 'Birthday Party' and 'Jealousy' but ultimately I feel the LP could have been stronger and more consistent with a few less tracks.