It's hardly news that soft rock and heartache go hand in hand, but Johansing's version is particularly seductive. [Aug 2018, p.89]

Myth Of A Man doesn't feel like the whole story yet, but it's getting there. [Feb 2019, p.92]

A "modular synthesis" of indefinable plonking building to bursts of static joy. [Apr 2019, p.96]

If you dug them back then, you'll likely dig them now. [Jun 2019, p.93]

It's a globe-trotting celebration of jerky, angular tempos. [Jul 2019, p.86]

It's a familiar world they inhabit, but still a deeply odd one. [Oct 2019, p.82]

Here he sings, using multiple guitar tunings for the complex arrangements, and his voice is variously a warm croon, sometimes darker but mostly pure and tender. [Feb 2021, p.82]

Roots-rock Zelig with a punk past, the New Yorker's double long-player has Roots Rock and Radical discs. [Nov 2021, p.94]

Weighty subtexts and a consistent mood of restrained portent haven't entirely banished the aforementioned arpeggiated banality here, however, which is a shame, because in places Heather gives rein to an otherwise repressed idiosyncrasy. [May 2022, p.94]

Break Me open doesn't stray too far from his day job. ... When his music rises to match the power of his words - the strings-and-horn-laden crescendo of Crestfallen - the results are stirring. [May 2022, p.90]

Most of I Have Notes is a shop window for Gouldman’s songwriting craft. [Sep 2024, p.87]

While ably constructed, particularly on the wistful The Old House, these songs feel slight - a starting point from which Konschuh's own individual voice may blossom. [Oct 2024, p.84]

Inner Day's voyage around the edges of the avant universe might be challenging, but it can also be mesmerising. [Dec 2025, p.83]

If this is a less turbulent FWF manifestation, they're still powerful, churning perilously. [Feb 2026, p.80]

The cumulative result begs a position beyond the band's canon, in an intriguing mini universe of its own. [Mar 2026, p.80]

Frontman Brendan Urie has a knack for jaunty pop but Pretty Odd is too clinical and calculated for one so young. [May 2008, p.102]

This stylish set quantum leaps from the title track's ethereal doom disco to the acid-damaged dreampop of Tokyo Wonderland via robo-glam rave-up Party Boy, and deserves to find these most playful of veterans a wider audience. [Aug. 2011, p. 92]

[Bundick] constructs a wold of dancey digital pop out of low-slung Cali R&B rhythms, blunted hip-hop, Gallic dance pop and quirky house. [Feb 2013, p.91]

Sexsmith's mournful voice and lyrical skills, so admired by the likes of Elvis Costello and Neil Finn, detail a world of love and hopeful expectation. It all makes Exit Staretgy... an almost infinitely rich and subtle album. [Sep 2008, p.98]

Arbouretum have reined in the Crazy Horse-gallop-on-for-hours excesses of earlier outings, for sharper impact. [Jan 2013, p.91]

Thoughtful, slow-burning dream pop. [Apr 2014, p.98]

Hayes's new-found prolificacy certainly hasn't exhausted his gift for timeless pop. [Feb 2015, p.91]

Immersive, but not entirely absorbing. [Aug 2017, p.91]

Too much of the rest meanders through trickling streams of acoustic guitar and somnambulant vocals without ever detaining you for long. [Nov 2009, p.97]

Grand Archives are a modest outfit, never as anthemic as Bridwell's widescreen My Morning Jacket-lite, but with a celestial line in harmonies. [May 2008, p.114]

The group are definitely branching out, but they've not quite reached Zabriskie Point yet. [Nov 2019, p.91]

An album that exudes charm and promise. [Jan 2012, p.96]

[Their] constant supersize-me approach is a bit exhausting, but few albums this year will strive this hard to entertain. [Feb 2012, p.95]