The sound of a very classy singer, and her smokin' band, having a fabulous time. [Aug 2014, p. 209]

Concise, clever and at war with everything from alienation to greed and loss, it's a rallying cry in a world that's lost its voice. [Mar 2013, p.97]

Well worth (re)discovering. [Nov 2020, p.87]

The concept of this album is about following a path that is eventually going to lead 20 years down the line and wonder where it will take you. [Nov 2014, p.94]

A bunker-born double (their second) that keeps on giving. [Nov 2022, p.74]

There's a familiarity to much of the material which, while not quite formulaic, does sometimes hint at self-reference, brazenly so on Tears Don't Fall (Part 2). [Mar 2013, p.97]

Irresistible. [Nov 2020, p.87]

Lush and romantic, Evidence is the kind of timeless electronic album you can dream inside. [Mar 2013, p.98]

Frankly, your head spins. Unpick it all, though, this is one of the most probing and pioneering avant-retro-pop albums of the age. And when Furman swerves from his Seraphiel & Louise narrative to discuss his issues with religion, coming out and the rise of the Far Right on the album’s jauntier ditties, it’s one of the most provocative too.

As a project and as a reminder of a hugely talented lyricist this is a treat. [Nov 2014, p.96]

This is one helluva return. [Oct 2022, p.77]

Young and Crazy Horse never perform their songs in quite the same way each night, of course, and Fu##in’ Up exemplifies that spontaneous, exploratory spirit. Listening to these geezers whipping up a hurricane of monolithic thud and skronk is always irresistible. [Jun 2024, p.74]

The songs on this follow-up to 2013’s Dig Thy Savage Soul rock harder than before while retaining the garage signature of ex-Lyres guitarist Peter Greenberg.

For the most part, Def Leppard is the sound of a band who have rediscovered their sense of purposes after a wobbly 25 years.

Space Invader has brilliant heavy rock tunes. [Nov 2014, p.96]

Otherness is a grand return from a gang of proud outsiders.

Their fourth album takes yet more detours, but without ever losing sight of the path. Devotees of lead-heavy riffs will be spoilt by the title track and Rites Of Passage, and the pace never exceeds sluggish.

Always Ascending is a class act, polished, honed, several cuts above the mewling herd. New guitarist or not, Franz Ferdinand abide.

This attention-grabbing, moshpit-rocking noise-bomb of an album is a tremendous first step. [May 2020, p.83]

Death Song (their first album in four years and one whose title neatly appends their name to the VU classic that first inspired them) is their heaviest to date, a toxic draught of garage-rock and booming psychedelia that buzzes with echo and reverb.

A consistently sparkling Weezer album. [Nov 2014, p.97]

While perhaps not as emotionally loaded as Ordinary Man, Patient Number 9 better captures the mischievous, defiant energy of heavy metal's original madman. [Sep 2022, p.72]

A vintage Bowie album for vintage Bowie people, of whom there are many; a reflection on his own journey and also on ours. [Apr 2013, p.92]

Dream-folkies will be transported back to the gauzy early days of Genesis or the Byrds, indie heads will be transported back to the most powerful skunk spliff they ever smoked along to Pond, Grandaddy or Neutral Milk Hotel.

Viewed as a whole, this set cements Harrison's reputation, not as a huge 60s phenomenon but as a human. [Nov 2014, p.104]

IX showcases a band with little interest in repetition. [Summer 2014, p.90]

[A] meaty pop debut album.

To Be Kind is evidence that they continue to grow and may not have reached their peak yet. It's superb for now, though. [Summer 2014, p.90]