Ultimately, it’s hard to escape the conclusion that they’ve scaled greater heights with more time and pre-writing. [Aug 2024, p.91]

Too much of this album, while pleasant enough, melts into a low-key blur of whispered, introspective nothings. [Jun 2012, p.85]

The repetitive music loses a little power when you're sitting down listening to a hi-fi. [Aug 2012, p.87]

The albums most evoked are the mid'90s brace, Charade and Misère. The Monochrome Set remain unmistakeably themselves. [Apr 2022, p.82]

It's over-reliance on Nine Inch Nails atmospherics and Boots's far from distinctive Bowie-lite croon could benefit from further tweaking. [Dec 2015, p.92]

Together they've grafted that rare commodity: Grown man dance music with dignity intact. [Nov 2011, p.103]

VWETO III occasionally struggles to transcend its origins as a collection of essentially unfinished pieces. ... More often, however, her lop-sided rhythms, offbeat electronics and uncanny sense of mood are compelling in their own right. [Jul 2021, p.82]

The Soul Of The Hour rumbles onward with fearsome nocturnal dread, if paced with sufficient patience this time to allow the odd shaft of illumination to seep in. [May 2014, p.87]

The Cree folkie in fine bellicose form at 74. [Jun 2015, p.96]

A big-sounding record, it feels like a step forward for Segall. [Nov 2021, p.91]

The DLO3 serve up a decidedly old school-sounding platter whose feel-good vibe is infectious. [Mar 2022, p.86]

Scratchily downbeat, this is a true artist's vision in that Hood can remove himself from the pain without stinting on the honesty. [Oct 2012, p.82]

Atmos aplenty then, but more melodies like Magdalene's would be nice. [Dec 2015, p.94]

Odd, enjoyable. [Jun 2006, p.103]

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

If pulverizing female vocals and pop-rock guitar licks were your thing in 1995, you certainly won't be disappointed now. [Oct 2012, p.96]

Luster is less dreamy than blurry, as if her subconscious is piloting this deep-trawling ambient indie with breathy vocals submerged in waves of drone and fuzz. [Jul 2025, p.86]

Less visceral than before, this one's a quintessential grower. [May 2015, p.91]

He's still a remix away from getting played at Gatecrasher, but full marks for effort all the same. [Nov 2009, p.95]

This is very much Goodwin's record, the work of a man revelling in his own company. [May 2014, p.88]

The results are slightly uneven. [Jun 2013, p.89]

While focus isn't really his thing, when Presley and his minimal combo cohere, they're scratchily persuasive. [Oct 2016, p.97]

Though humour abounds, there's also some serious musicianship on display, both from the mercurial Goldblum and his excellent band. [Dec 2018, p.90]

Webb has an eclectic Thomas Dolby-style approach and he's not totally successful. ... But that doesn't matter because when he hits it, the song rises with glorious abandon. [Mar 2019, p.98]

Songs blur into each other, rendering Beat My Distance a series of variations on adopted themes rather than evidence of a singular voice. [Apr 2019, p.93]

Intriguing debut. ... A surfeit of vocals is distracting. [May 2017, p.98]

Album seven hits a sweet spot between prog and power-chords. [March 2011, p. 108]

Too often his songwriting is so tasteful that it can tend toward the anonymous. [May 2014, p.88]