Los Angeles already feels like a destination record, Lee, Tolhurst and Budgie putting their decades of world-building expertise to excellent use. If the world they have built is on the brink of collapse, it only adds to the thrill. [Dec 2023, p.85]

Beauty & Ruin--a lean, 12 songs in 37 minutes--finds Mould still monkeying with the formula. [Jul 2014, p.90]

The worst thing you can say about this record is it's low on surprises. [Sep 2010, p.103]

Smoother than last year's Sign, this capricious set also contains some finely crafted instrumental sections. [Mar 2003, p.114]

Mesmerising stuff. [Mar 2003, p.109]

More judicious editing might have rendered this a classic return to form, but there are still enough high spots to keep nostalgic fans happy. [Sep 2001, p.92]

Has more to do with Primal Scream's Evil heat than any arched-eyebrow electro-clashers. [Dec 2002, p.113]

A slightly awkward but ambitious beginning.

An album that can only add to her legend. [May 2007, p.112]

Played with authority and aplomb. [Sep 2013, p.96]

Filled with the restless tension of forever moving on from relationships, situations or cities, her rarefied empathy hits a haunting peak on For The Miner. [Feb 2014, p.89]

The grown-up Ash remain every bit as irresistible as the pop-punk pups. [Jul 2015, p.87]

What lets her down is a pair of English songs--beautifully sung, but the material is unforgivably weak. [May 2017, p.95]

This sounds raw and mighty, but somewhat same-old. [Dec 2019, p.94]

It's a record where everything escalates quickly - proof Snapped Ankles know exactly how to read the room. [May 2025, p.91]

Nursing you back to equilibrium with its sumptuous balm of laid-back growers, Up On High is a near-perfect hangover record. [Nov 2019, p.93]

Wilco (The Album) is as consummate as anything its author has yet delivered. [Aug 2009, p.97]

There are sweet moments on The Demise Of Planet X - not least guest appearances from Aldous Harding (Elitest G.O.A.T.) and Life Without Buildings' Sue Tompkins (No Touch) - and a more delicate musical palette, but the overwhelming mood is one of weariness; with the state of the world and the tedious, endless gotchas. [Feb 2026, p.85]

Wolfmother have a canny knack for a tune. [Jun 2006, p.98]

The animals are well cast as they orbit Magic Town. [Sep 2013, p.91]

Golds is rich with wry psych-pop nuggetry of a kindred humour to Robyn Hitchcock. [Jun 2015, p.92]

It benefits from producer Jim Sclavunos's emphasis on a place-you-in-the-room live approach, bringing the dark to labelmates Temples' light, as Heavenly's neo-psych vanguard marches onwards. [Nov 2016, p.94]

An 11-song set that's melodically insidious and swings like a noose. [Apr 2006, p.90]

Wonderful. [Jul 2014, p.93]

It's unfortunate that the weedy vocals dilute some of its impact, otherwise this would be a triumph. [Apr 2005, p.89]

The coherent Volume 1 sounds like a Midlake-as-such album: a more direct follow-up to 2013's Antiphon. [May 2017, p.89]

An exercise in economy. [Dec 2006, p.120]

Formidable. [Feb 2009, p.109]