[The] third Egyptrixx album has a fidgety, unsettling quality. [Mar 2015, p.97]

There's beauty and imagination aplenty here--but maybe a slight whiff of Pseuds Corner, too. [Apr 2015, p.91]

Hallelujah, melodies and lyrics are not just sensitive but sharp and witty, glittering with a dazzle reminiscent of Britpop at its deftest. [May 2015, p.96]

Lulu sounds as vital and feisty as ever. [May 2015, p.93]

Younghusband's second LP pushes bittersweet melodies from under a reverb rug. [Dec 2015, p.94]

[The album] has no one style, no favoured musical template. [Mar 2016, p.92]

Capturing the duo's perfect balance of fan with technician, it plumbs indie music's past, inhabiting the same sonic atmospheres as the JAMC, MBV and Joy Division, but is executed with expert ability. [Apr 2016, p.90]

[An] Ubu-sinister psychedelic LP. [May 2016, p.96]

It's a grand gesture of a record, though, and if at times it's a little too much, that's entirely in character. [Jun 2016, p.94]

Another left-field guest-fest. [Jun 2016, p.96]

Just a tad more quirkiness would be welcome. [Jul 2016, p.92]

Gorgeous from beginning to end, Luck Or Magic is evenly split between originals and covers. [Aug 2016, p.91]

It's Ry [Cooder] who handles the production chores and does that capably. [Sep 2016, p.94]

It bursts with love--for family, for the power of musicianship, but most of all, like Lidell's hero Stevie Wonder, for the art of storytelling. [Nov 2016, p.88]

An impressive emotional ebb and flow on this heart-swelling debut solo effort. [Nov 2016, p.96]

Gelb may be onto something and his chutzpah i laudable but, ultimately, only time decides which songs become standards. [Dec 2017, p.94]

At least 50 years out of date, and wonderfully so. [Jan 2017, p.98]

One of the year's best. Which year? Any year. [Mar 2017, p.92]

Hypnotic channels occasionally, degrade into ruts, but more often this is a fabulous freakout. [Mar 2017, p.98]

Shrieky-voiced, Jad fair-esque solo set of mid-70s Bowery oddball punk. [May 2017, p.98]

Mostly You Had Me At Goodbye is an artist stretching out and eagerly grasping a whole new world, one that she should easily conquer. [May 2017, p.94]

Their sixth album doesn't veer too wildly from it [their MO]--lashing Krautrock grooves to a broad cross-section of dance music tropes, and embellished with Best's labuorous, conversational vocal style. [May 2017, p.91]

The results are appropriately cinematic and evocative. [Jul 2017, p.91]

When the music gets quieter there is an irritating increase in tape hiss. [Jun 2017, p.89]

[A] powerful debut. [Nov 2017, p.103]

End Of The World could be Don't Fear The Reaper Mk II while a fad cover of NRBQ's I Want You Bad delivers Heart-racing teenage kicks. [Dec 2017, p.89]

There are diversions into pop and hardcore dancehall but overall it's a strongly enticing release. [Dec 2017, p.91]

Cloying, ultimately fascinating. [Feb 2018, p.99]