The results are a triumph. Scott interprets everything in a manner that touches heart-strings. [Mar 2017, p.98]

[The Selecter] haven't sounded so energised since their 1979 debut, Too Much Pressure. [Nov 2017, p.100]

You might struggle to identify where their influences end and begin, but Mattiel's charisma - and solid gold tunes, in the form of Lighthouse and the darkly gothic Blood In the yolk - ultimately win out. [Apr 2022, p.89]

Ultimately hit and miss, Justice's gift for arena-friendly hooks remains undimmed. [May 2024, p.86]

In short, genial, infectious guitar pop like they used to make. [Feb 2008, p.102]

It’s unlikely to set anything alight, but LA Times still leaves a warm glow. [Aug 2024, p.81]

Studded with occasional gems...it's also weighed down by a handful of jokey throwaways and partially realised pop numbers among its 24 tracks. [Oct 2011, p.94]

Just a quick read of the titles on this 12th album shows Chuck has lost none of his sloganeering, rebal-rousing wit. [Oct 2007, p.106]

Lollipop finds songwriter Curt Kirkwood, as ever, rearranging rock history into new shapes that fit his wonderfully warped vision, delivering some of the Pups' most compelling tuneage yet. [Jun 2011, p.102]

Though he can give good ballad he mostly sticks to what suits his gritty vocal and his attitude best: speed-grass. [Dec 2008, p.108]

It is striking how old school and immediate it sounds. [Dec 2016, p.90]

It takes awhile to get some traction on these unassuming songs. But once inside it is a strange and enticing world. [Jul 2018, p.95]

Orbital remain a comforting presence, and still have plenty to say. [Mar 2023, p.85]

Straddles the line between the jackhammer clattering pop of Girls Aloud (Sorry, Etc is almost a facsimile), the elusiveness of Fiona Apple and Chvrches’ own electro backdrop. [Feb 2025, p.88]

The reference points suggest Cerebral Ballzy care little for innovation, but they've nevertheless created the best US punk debut for some time. [Sept. 2011, p. 98]

They produced 11 perfect songs defined by sweet, honeyed vocals and spiritual uplift. [Apr 2013, p. 90]

This band brings a grubby beauty to a sound imbued with the insidious durability of the Buckingham-Nicks Fleetwood Mac. [Sep 2007, p.105]

The songs are rarely more than threads of querulous melody and floaty notions. [Jun 2012, p.93]

This tenth album opens, unappetizingly for non-disciples, with a histrionic funeral dirge call provocatively, Killing Strangers--plus ca change from the Status Quo of Satanist twaddle. But hold tight, there's livelier material ahead. [Feb 2015, p.89]

A compelling blend of 21st Century world music. [May 2003, p.106]

Isn't an easy listen but those with an adventurous ear will be well rewarded. [Aug 2004, p.101]

With a couple more new songs, this could have been a great second album rather than a stop-gap release. [Jan 2002, p.90]

Musically and vocally, this is Franti's most confident and varied work to date. [Jul 2003, p.106]

It's a mellow, meditative and mid-paced work... TIB is still a strong record, which fans will grow to enjoy immensely. [Jul 2001, p.94]

Breach is a dull affair of humdrum tunes, mundane performance, and lyrics which lose themselves in vague imagery as if Dylan were actually evading the chance to express himself.

A thoroughly charming patchwork of neo-'60s rock. [Jul 2013, p.82]

The Road Part 1 is described by Lavelle himself as having "a foot in modern London"--a link that is at best tenuous. As a melting pot of disparate ideas, however, it's frequently gorgeous. [Sep 2017, p.87]

There are some great moments. [Nov 2006, p.101]