Glitters like broken glass. [Jan 2012, p.92]

The songs dive off in unexpected directions, but remain linear. [Nov 2012, p.87]

Lee's declared love of hymns, evident in his falsetto flutter and overarching cavernous mood, should ensure former Oasis fans won't clamor for Bluebell Field or Hold Me Forever, the key tracks to Money's particular, profound brand of Mancunian sound. [Sep 2013, p.91]

More robust moments provide the necessary shift but, with all its delicate finesse, Forgetting The Present largely prefers to take its oblivion lying down. [Aug 2014, p.86]

A cathartic soundscaping of the rugged Northern California landscape. [Jul 2015, p.91]

[For Bteer, Or Worse] maintains the same innate love of his subject and feeling of bonhomie. [Nov 2016, p.94]

This comes together perfectly as he preens and stalks and sneers, like a sulky, world-weary Bowie. [Aug 2019, p.90]

These great songs live on through reinvention; Bonny Light Horseman have done them proud. [Feb 2020, p.87]

It has a home-made, handcrafted feel and an almost impossible intimacy. [Feb 2020, p.91]

A little strange, a little strained, Mercy still rings with its own truth. [Jun 2021, p.88]

While it's true you can often hear what upset the highlife connoisseurs, the bulk of this collection of outsider art holds up 30-plus years on. [Jun 2024, p.98]

In truth there's little here that wouldn't belong on the 1992 breakthrough, Let Me Come Over, their enduring warm embrace marking Buffalo Tom as a band you can grow old with. [Jul 2024, p.84]

The Alabama five-piece, alongside producer David Cobb, totally cut loose, upping the octane to hard rockin’, guitar crunchin’ Southern gospel soul. [Sep 2024, p.86]

It’s not all dreamy-headed stuff – Relief, for one, achieves rocky lift-off – but for the most part The Good Kind Tom Doyle sustains a compellingly airy atmosphere throughout. [Jan 2024, p.83]

This is very much alright. [Apr 2025, p.82]

Enthralling fever dream of an album. [Apr 2025, p.82]

The shock of the new has evaporated, but she's subtly evolving and broadening her palette. [Dec 2025, p.78]

This is an outfit broadening its musical horizon as the record spins. [Jan 2026, p.88]

Wormslayer feels like the band's most consistently corporeal record since the Britpop era's iconic K. [Mar 2026, p.83]

Craven Faults harness electronic power to recount compelling stories. [Mar 2026, p.88]

The epic A Friend Like You, the tenderest song about being unable to walk away from a relationship, rueing "why the hell do you have to be so sweet", or the self-explanatory Sad Song, ironically the jauntiest track here. [Jun 2026, p.87]

Happy or sad, these are fine songs. [Apr 2013, p.88]

Smart, sensual, self-loving and self-critical, pissed-off and hilarious. [Jun 2006, p.112]

Several songs here feel swamped. [Nov 2020, p.88]

O'Brien sees dead people, spits at love, puts himself inside the heads of fellow bus passengers and defies anyone to categorise his music. It's a rich experience making the attempt though. [Jul 2010, p.92]

Deep, rewarding songs, rich in authorly detail, which, not for the first time, position Rateliff, still only 45, as a new Springsteen. [Aug 2024, p.81]

Black City is the devil leering over Asa Breed's shoulder, a seedy, dirty place--but a fascinating one, too. [Sep 2010, p.99]

The Sun Awakens isn't wildly different (from its predecessor)--though it introduces tripped-out electric guitars to Chasny's homespun palette. [Jul 2006, p.102]