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]

The Nebraskans' second LP strikes a meaty accord between classic rock swagger and the pumped up, get-in-the-van intensity of hardcore. [Apr 2009, p.107]

The grammatically doubtful One Less Heartless To Fear finds the quartet in more punishing mode. [Feb 2011, p.101]

[Leithauser] revels in letting his talent run free, outwith trad rock arrangements. [Jun 2014, p.92]

It's an LP of insight and empathy. [Mar 2024, p.82]

Plunges him back to the old soundworld of heavily Auto-Tuned ballads (of the 12 tracks here, only Bread Believer is pacey) and a voice that sounds like it’s on the verge of tears, even if the lyrics sound more disorientated than tragic. .... But Maine’s nagging melodies hold up, and Shirt still feels convincingly real. [Oct 2024, p.84]

The deep soulfulness that always set The Afghan Whigs apart from the pack was no mirage, and on Do To The Beast, it has matured with grace and power. [May 2014, p.86]

Russell sings with heartfelt authority, while Calexico's cool elegance balances the emotional ticket. [Oct 2009, p.106]

It's not a great album but it is good, bar a slapdash feel to some songs and too much squealing, dated guitar. [Apr 2008, p.100]

Oh My smacks less of a one-off project, more of the opening chapter in a narrative which could dominate its participant's future. [Mar 2018, p.94]

Delivers on the melodic promise of 2001's Rock Action, teetering between art-bruised fragility during its slower, gentler moments and flashes of stereo-buckling metal. [Mar 2006, p.93]

A single-minded, yet ultimately baffling experience. [Apr 2014, p.95]

They have clearly been rejuvenated by this beguiling collaboration, producing their best work for years. [Jul 2005, p.110]

Withering, witty and clever. [Apr 2011, p.94]

Bugbears is a rich and warming curio, and there's something quietly noble about Hayman dragging the thoughts of these long-dead writers back into the light. [Aug 2013, p.93]

On Antiphon, Midlake sound like a band unburdened and read to fly. [Dec 2013, p.82]

He's rarely sounded better. [Nov 2014, p.98]

These 41 short, snappy but entirely involving instrumentals generously reaffirm Dilla's inimitable way around chopped-up vocal samples, waspish, distempered synth lines and spacey unquantised drums. [Jan 2016, p.104]

Colour Theory showcases a more lavish, studio-based approach. [Apr 2016, p.87]

Music that alchemises urban jazz with rural Americana to create something that is haunting and otherworldly. [Jun 2016, p.94]

Resistance to its charms is futile. [Sep 2016, p.93]

Enduring, reliable but far from set in their ways. [Jun 2017, p.92]

Titular peaceful intent is achieved. [Aug 2017, p.97]

Scum is a joyous mash-up of cheap beats, precinct-loitering aggro punk and youthful vim; it's by no means a classic, but you suspect Cardy may well have one in him soon. [Oct 2017, p.94]

Their eighth long-player feels leaner, nastier, equally impressive [as 2014's Time to Die]. [Dec 2017, p.91]

Mixture of West Africa and Caribbean influences. Oscar Jerome's glowing highlife guitar opens Dide O, a midway tryptic with Soul Searching (Afrobeat) and We Give Thanks. (soul). [Sep 2022, p.96]

A sonic adventure best enjoyed with very good headphones. [Dec 2022, p.85]

It seems to have been compiled via the randomness of fridge poetry, but that's a strength rather than a weakness. [Mar 2026, p.96]