Alongside The Miracle 3's rich, roughneck guitar grind, Wynn's odd perspective gathers strength on two songs that involve gatecrashing private homes or events. [Feb 2011, p.107]

The spring in their step has a dangerously sharp point to increase Never's allure. [Aug 2012, p.87]

A powerful intoxicant rather than just another retro genre exercise. [Sep 2016, p.92]

It proves to be an oblique, sometimes outre, but always artistic reinvestigation rather than an indulgent lap of honour around erstwhile glories. [Feb 2016, p.94]

This whets the appetitie for whatever Stevens' formidable talent fixes upon next. [Aug 2006, p.96]

The only unsatisfactory element of The Ballad of Dood & Juanita is that it's too short. [Oct 2021, p.92]

What Yes, I'm A Witch proves, above all else, is that the world is at last catching up with Ono. [Mar 2007, p.92]

Within its luxuriance of old, within its dreamscapes Fitzgerald's often Kitchens-sink observations and harsh, bloke-from-Editors singing voice remain naggingly terrestrial, dragging the listener down to earth, when everything else is straining heavenwards. [Dec 2013, p.90]

Flight b741 feels like the doozy Primal Scream aspired to circa Give Out But Don’t Give Up. Turns out you don’t have to fly to Memphis to shine. [Sep 2024, p.88]

There's a peculiar tension in the way the stripped down electronic and acoustic percussion and Shemie's reverby incantations work together. [Mar 2013, p.89]

Real Emotional Trash conjures a virtuoso meld of folk rock, prog and cosmic blues tropes, all filtered through the ex-pavement frontman's tradmark arch surrealism. [Apr 2008, p. 101]

The interplay between their vocals is tense and compelling, suggesting early Blonde Redhead. Their lyrics, meanwhile, are mysterious knots of angst. [Jul 2023, p.87]

Guitars, sounding like synths, soar into the stratosphere, and intense crescendos linger over delicate, breathy passages. [Aug 2005, p.94]

His songs are hypnotic but oddly clunky vocals keep it earthbound. [Jun 2014, p.98]

Songwriter is indeed a by-product of music rendered on a digital frontier; it is a worthy effort because it reinforces the humanity of a star who, in his last days, could seem like some untouchable god. [Aug 2024, p.78]

Chelsea Light Moving's sound and fury certainly thrill. [Apr 2013, p.88]

This delicate, intricate web of sounds asks you to lean in to appreciate it. [Nov 2018, p.84]

She's still the bedsit heartbreak queen for pop fans of a certain age. [Jul 2026, p.83]

The razor-wire riffs some of their best. [May 2015, p.98]

Musically, the influence of dubstep is readily apparent. [Dec. 2010, p. 99]

An immersive, deeply satisfying work that doubles down on the experimentalism he brought to The Frames. [May 2019, p.93]

Stirring stuff, but a little goes a long way. [Jun 2019, p.96]

Clarietta is no routine homage, more a gripping twist on a timeless classic. [Jun 2013, p.88]

The ’70s resonate within the 10 exquisitely crafted tracks.

Echoboy nonchalantly pits twittering electronica and filmic ambiences against garage guitar riffing and sugary Europop: the result is an unpredictable 45-minute journey in sound. And it's an alluring trip for the most part.

Unlike many of dance culture's dedicated dilettantes, theirs is a smooth and millifluous whole, underpinned by the gentle pulsing of liquid bass lines.... Delightful. [Sep 2000, p.94]

As a singer, the South Dakota-born, Ontario and Illinois-raised Colvin occupies a niche between pensive Sheryl Crow and pre-jazz Joni Mitchell: no histrionics but a telling, often moving restraint.

Donelly's wild, sweet tones are the perfect counterpoint to Hersh's cajoling banshee of a voice. [Apr 2003, p.97]