In Another World cleaves to the telegraphed, lighter-aloft choruses that make Cleveland and other places rock, a palpable Beatles influence pervading Quit Waking Me Up and So It Goes. [May 2021, p.81]

Frenetic take on Radiohead's Street Spirit aside, the tightly arranged songs here are pleasingly Queen, AC/DC, Lizzy and Leppard-aware. [Sep 2012, p.86]

Though Black Jesus and Graves To Dig weld slow-burning hip-hop beats to politically astute lyrics, elsewhere the abundance of self-conscious singing and menopausal guitar noodling sees the album shuffle, uninterestingly, towards the middle of the road.

[The Datsuns] do the rawk thing so well you can forgive them almost anything. [Dec 2002, p.106]

That voice remains intact, warm, ever communicative, ahead of the game. [Oct 2004, p.112]

This fluidity of their eighth album becomes a virtue for this project. [Nov 2011, p.93]

A New York studio may not be the ideal place to summon up the atmosphere of the Wild West, but these desperadoes on Barry Adamson's lable make a pretty good fist of it. [Dec 2009, p.101]

Just in time for autumn, more summery surf rock by Hawaii's second favorite son. [Oct 2013, p.98]

The Posies [are] now a surprisingly politicised act. [Aug 2005, p.104]

Shimmering, lounge-pop gives a velvet backdrop to fluent, Dylan-ish vernacular sung with flawless mitteleuropa cool. [May 2017, p.98]

There's a Prince influence, but little real passion. [Nov 2013, p.94]

True, there are some facinating arrangements on songs written during a summer in Berlin. But those songs, bar the first and last track sound oddly wanting. [Sep 2008, p.108]

See them A Come and band original Open Goal here could both date from that time [1980].... The rest of Subculture spreads the net wider though. [Jul 2015, p.93]

They explore the tricksy time signatures and artful insouciance of Deerhoof or Tortoise with aplomb. [Sep 2016, p.99]

Imposter, if not essential, always ring true. [Jan 2022, p.83]

The glitchy electronics hard shield his soulful voice, but on tracks like Corner the digital pulse yields more human warmth. [Sep 2015, p.95]

Pale and pensive indie-pop, cooled to a chill, with [lead singer] Nouvion floating over a similarly tranquil, dreamy wash, like an American Sundays. [Apr 2012, p. 90]

Right On! seesaws between spectral moments of introspection and bristling passages of electric activity. [Jan 2016, p.88]

Gorgeously sweaty in its simplicity. [May 2005, p.103]

With more hits than misses, Shadow is back in the frame. [Aug 2016, p.95]

Marc Rigelsford's second LP basks in at-home production warmth. [Jul 2013, p.96]

Technically striking, yet for all its precision sounds oddly sanitised. [Jan 2017, p.104]

Fire It Up is a slow burner. [May 2021, p.80]

For every glimpse of a hook or a memorable melody, there's a stretch of unfocused, sample-strewn electronica, all skittering art-techno beats and wilfully obtuse instrumentation. [Nov 2007, p.95]

Some of the best covers here are of less overtly politicized Dylan songs. [Feb 2012, p.95]

William Bensussen mashes up cavernous hip hop beats, 8-bit electronica, West Coast psych and glitch. [Oct 2012, p.95]

It's an honourable outcome for such overreaching ambition to fall inevitably short, but not flat on its face. [Oct 2003, p.110]

At points UNKLE verge on Moby car advert territory, but judicious sampling and that deadpan sci-fi spirit keep the album the right side of experimental. [Sep 2003, p.113]