Bursting with invention, energy and occasionally cheesy synths.[May 2018, p.95]

Idles and Tom Morello score highly by taking an edgy staccato approach, faithful to the original songs, but La Roux's synthy take on Damaged Goods teases out an unexpected amount of melody. [Jul 2021, p.83]

Sonic Soul Surfer mostly trades in toe-tapping slide-guitar riffage. [Apr 2015, p.88]

This band could, and should, go mega. [Jan 2003, p.99]

If "Street Horrsing" was a bit of a lark, then Tarot Sport plays an altogether more serious game. [Nov 2009, p.92]

Estoile Naiant is a work of excessive indirection and wonder that becomes terrifying only if you try to define its boundaries. [May 2014, p.90]

Their most ruthlessly focused. [Nov 2020, p.88]

For every song that reacts against the last album, another chimes perfectly with its mood of epic redemption. [Sep 2003, p.101]

Distractions is one addictive rush of spiky DIY energy. [Aug 2015, p.96]

Wasner downplays the rockier aspects of her previous two solo records to delve into her Joni bag, pulling out both folk and AOR models - with streaks of Americana - sourcing gorgeous melodies to match her glowing vibrato that resembles a young Lucinda Williams. [Dec 2025, p.84]

Enhancing the listener's wonder at her rapid evolution, shoreline to treetops in under four years. [Dec 2020, p.90]

From Out Of Nowhere is a stronger, better focused set than its predecessor. [Dec 2019, p.84]

The delicious, Moroder breakbeat thump of Birth4000 and squealing garagey rave of Vocoder (Club Mix) have the swagger and heft to leave club soundsystems wobbling, but also need good headphones for home enjoyment. [Oct 2024, p.82]

Buchanan's Voice is the star, but his songs rarely let him down. [Mar 2026, p.86]

It's when everything begins to fan out like a peacock's tail at the height of courting season that you're reminded just why Newsom is a 21st century one-off. [Nov 2015, p.84]

Awash in trademark snaky overdrive, heavy sustain and controlled feedback, this is a big, rich work of buzzy acid-blues melodicism, the unique sound of a guitar virtuoso sketching wild patterns for late-night journeying. [Dec 2016, p.94]

The songs are gorgeous, lyrical, chimerical, the arrangements weighty, complex and cool. [Jan 2019, p.89]

A meditative counterpoint to Reflection. [May 2022, p.94]

If 2018's fragile debut At Weddings tended to become lost in the beautifully abstract mists as the Pastor's daughter explored faith and its losses, I Don't Know Who Needs to Hear This... navigates using sharper corners and edges. [Jun 2022, p.84]

It was uniquely visionary--primordially rockin', yet titled defiantly at the stars. [Dec 2012, p.101]

The alert and taut Always Ascending restores theband's original pop kinesis and then some. It is by far and away their most interesting offering since that debut album. [Mar 2018, p.92]

Bluefinger marks an artistic rebirth for the king of quiet/loud. [Sep 2007, p.110]

Rose's songwriting revels in its directness. [Jun 2021, p.90]

Here her wonderful voice, smooth and warm with throaty twang and unforced power, has free rein to do what it does best on 11 fine new songs. [May 2008, p.111]

Greene here pulls together abstract R&B, twisted 2-step and crunching house, skillfully adopting vocal techniques employed by his heroes, Masters At Work. [May 2017, p.91]

A cache of hissy, vivid, occasionally creepy but mostly sweetly touching brain pop that stands proudly alongside GBV's ragged former glories. [Feb 2012, p.97]

Listener as shrink? A bit, but you'll be happy to attend E's chaise longue. [Mar 2013, p.86]

The 10 songs here complements mainman Creston Spiers' whisper-to-howl vocals with startling dynamic shifts. [Sep 2008, p.106]