clipping.'s finest refinement yet of their abrasive horror-rap. [Dec 2020, p.87]

L.A. Witch is brief, ultra-basic, not particularly varied and all the better for it. [Nov 2017, p.97]

An unpretentious euphoric debut. [Sep 2013, p.95]

Newbies Jet Pac Boomerang and Went To A Party zing with his best, quality control being the soul of wit. [Oct 2024, p.88]

Reggae/dub comes no more vital, nor far-sighted, in 2019. [Jan 2020, p.85]

This is exciting, audacious work from a band yet again on the edge of a new future. [Oct 2013, p.84]

Mind-expanding stuff. [May 2017, p.106]

Frazey Ford undeniably models here new album on those delicate masterpieces [Ann Peebles' I Can't Stand The Rain and Al Green Is Love], but it really works. [Dec 2014, p.90]

These are big themes that provoke corresponding emotions. [May 2021, p.87]

Capture Jackson at his very best. ... These eight songs are both questing and healing. [Jul 2022, p.89]

The delightful, multi-mood Commontime is just shy of an hour, opens things out and is more personal [than 2012's Plumb]. This might be the sound of maturing. [Mar 2016, p.96]

Wintry, ethereal and strangely bewitching, it feels both ancient and modern, rooted in the raw Appalachian landscape of Leigh's childhood and the contemporary language of confessional memoir. [Apr 2016, p.91]

Patina exists on an arc where grunge, the rave era, Britpop et al never occurred. What would have happened if the second half of the '80s had defined much of what came next? Tallies provide the answer - these nine tracks are that good. [Sep 2022, p.94]

Death, love, the ghosts they leave behind: these are grand themes, and Hegarty channels their spirit with magical grace. [Nov. 2010, p. 100]

Funny, bleak, cathartic and brave, with a winning redemption arc, in all but design Weirdo is a blues album - transforming unbearable pain into deeply affecting, original art. [Jun 2025, p.86]

A relentless, unstoppable beast of screeching, pounding ascendancy. [Mar 2012, p.97]

Act Surprised's high yield of killer songs hardly suffers for its absence of oddball filler. [Jun 2019, p.90]

His quiet, reasoning delivery works beautifully, and reminds one of the singer's instinctive ability to transform a song. [May 2013, p.91]

It's wholly bewitching. [Jul 2019, p.90]

Occasionally tracks are achingly earnest; but overall this is light in the darkness, about love and death and bravery of all kinds. [May 2014, p.94]

Darkly neurotic, it captures the on-the-road loneliness and sense of dislocation perfectly. [Jun 2011, p.97]

Pure Bloom is a cleaner, more austere work, yet just as emotionally overpowering. [Sep 2019, p.95]

We should've seen this one coming. And still it's a gut punch. [Sep 2018, p.89]

Its 11 new originals that wouldn't sound out of place on country radio or in a roadhouse in the '50s and '60s. [Jul 2013, p.92]

Fun and fully immersive, rewinds are rewarded with a plethora of intricate detail. [Jul 2013, p.85]

Everywhere Bourne's judicious minimalism proves compelling. [Sep 2017, p.89]

The songs feel like they're boiling over, there's so much heat under them. [Mar 2004, p.95]

Disappointment and cautious optimism for the future, rather than recrimination, is About Farewell's weapon of choice, a welcome female counterpoint to, say, the bitterness of Bob Dylan's Blood On The Tracks or Josh Ritter's The Beast In Its Tracks. [Sep 2013, p.86]