struck by the album's innovation, noting "a bizarre blend of spritely and monumental themes", and argues it "marks the point at which David Bowie moved from pop musician to phenomenon". Marc Spitz acknowledges Station to Station as a "gigantic creative leap forward", similar to Hunky Dory five years earlier. He praises the record's timeless feel, the performances and the overall atmosphere, and considers it the first true new wave record. James Perone cites it as one of the most "structurally coherent and broadly accessible" records of the era. Peter Doggett argues that the new recording process Bowie used on the record allowed him to elevate it into a single unifying vision, as he had encapsulated on Hunky Dory and Ziggy Stardust. Although Bowie would use this process for later records such as Lodger and Scary Monsters, Doggett believes these records are more fragmented than cohesive in the manner of Station to Station. Reappraisal Retrospectively, Station to Station is viewed as one of Bowie's best and most significant works. Erlewine wrote: "It's not an easy album to warm to, but its epic structure and clinical sound were an impressive, individualistic achievement." Alan Light called it both "musically accessible and lyrically elliptical". In the Spin Alternative Record Guide (1995), Rob Sheffield considered Station to Station Bowie's greatest album: "[It's] the album where Major Tom learns to dance, as the slick, robotic onslaught of the Teutonic title track fades into the tricky beats of "Stay" and "Golden Years". In the Velvets-worthy "TVC 15", Major Tom appears as a woman who beams herself to a satellite, leaving poor David stranded on earth. Highly recommended to MUD devotees and computer sex aficionados." Sheffield later deemed it a "space rock masterpiece" in The Rolling Stone Album Guide (2004), writing Bowie had recorded "the most intense music of his life". In 2010, Paul Morley of the Financial Times praised its cohesiveness calling it a "mesmerising album" that is not only one of Bowie's best, but "maybe" one of rock's greatest. He argued it works as a capsule showing the artist's mentally, and where rock music was, at the time he made it. In a 2013 retrospective for Rock's Backpages, Barney Hoskyns called Station to Station "one of the most impressive of his musical junctions: intense, passionate, focused, surging and urgently funky". In The Guardian, Alex Needham said the album "manages to incorporate almost everything fantastic about pop