Simple, repetitive, often unsettling, Sort Of Revolution refuses to succumb to the obvious. [Jul 2009, p.93]

The way a latent power blends with an occasionally slightly gauche drama suggests early Radiohead. And, as with Radiohead, it feels like the second album could be the key event, deciding whether these collegiate English sounds can enrapture the wider world. [Mar 2011, p.98]

A skittering show-reel of outer-space advert indents that flit from dying hard-drive porn disco to sweetly-warped On-U dub lullabies. [May 2012, p.89]

An eclectic gem that namechecks Malcolm Gladwell's social psychological musing as an influence. [Feb 2013, p.91]

Leeds psych-metal quintet sound suitably grinding and progressive. [Dec 2014, p.102]

This highly accomplished album also finds her writing and singing in other registers. [Jul 2015, p.90]

She's assembled an intriguing set of duets. [Nov 2015, p.91]

The album takes the artist to new territory. [Aug 2016, p.92]

Trimming, paring and refocusing has made Frontier Ruckus a far more enticing package, and if Milia isn't quite in the league of similar writers such at The Decemberists' Colin Meloy, he's catching up fast. [Mar 2017, p.93]

A record to welcome the morning light as it seeps through chinks in the curtain. [May 2017, p.91]

The music is charming, if a little simplistic at times. [Aug 2017, p.94]

What follows is like an eccentric, audacious musical collage that somehow hangs together. [Sep 2018, p.93]

The deadpan vocals of Camila De Laborde means that The Knife comparisons are difficult to shake, but they mirror the bold, ethereal quality of the music. [Jan 2019, p.89]

There is room in the world for such quaint records as these, but the world doesn't need another version of the Eagles' Take It Easy. [Mar 2019, p.91]

Occasionally the lyrics are wincingly obvious. ... Emerald Valley is blunt truth for dire times. [Jun 2019, p.88]

The Only Ones reassures concerned fans that all is very well in Camp Milk Carton. [Jan 2020, p.90]

While the guitarist's chops are impeccable and his tone as fiery as ever, the stiff, unyielding charts tend to stifle him, hindering his spontaneity and that of his fellow fine musicians. [Jun 2020, p.95]

A useful document of Crazy Horse in rare, relatively subtle trio form (no Poncho). [Jan 2021, p. 101]

Contrasting extremes on emotionally literate, indie rock evocations. [Mar 2022, p.90]

Ramona has a very on-Broadway energy. There are occasional Blue Hotel lapses, but I'm Getting Married To The War or A Precious Thing come across like a rock opera Aldous Harding, while title track - inspired by Bob Dylan's 1964 song To Ramona - is the third curtain-call Patti Smith. The force of her voice alone earths these songs. [May 2024, p.86]

Stygian Waves has a pleasing surety of direction. [Jun 2025, p.84]

There's some really good songs here - Creature From The Wild is classic Fruit Bats, Moon's Too Bright is a beauty, and so is his moving cover of the Incredibke String Band song First Girl I loved - but the overall feeling is of an abandoned demo album [Nov 2025, p.93]

Ultimately Four is an album of two 9uneven) sides). [Sep 2012, p.89]

The majority of Not Too Late hums with a placid darkness and neurosis which is as delicious as it is unexpected. [Feb 2007, p.104]

As for her voice, that's still a remarkably sassy tool. [Nov 2004, p.108]

Small Black are more convincing when they move into sharper focus. [Dec 2010, p.96]

Nelson has impeccable taste in cover versions. [May 2013, p.87]

[A] ragged rock 'n' roll debut with vigorous grit, while Robbie Crowell's drawled, anecdotal lyrics add dive-bar sleaze. [May 2013, p.96]