Only By The Night is best viewed as a transitional record from a band who have quite literally done their growing up in public. [Oct 2008, p.98]

Even where Sounds Of The Universe resembles a self-help manual, it does so with commanding tunes and a ring of truth. [May 2009, p.102]

Versions of Jon i Mitchell's Don't Interrupt The Sorrow and Bob Dylan's Only A Pawn In Their Game are surprisingly persuasive. Elsewhere, it's like being imprisoned in the teenage Moz bedroom/brain. [Jun 2019, p.89]

An improvement on 2020's lightweight Pt. 1. [Oct 2021, p.99]

Despite the band's commendably cyclonic hardcore punk energy, Premonition underscores the fact that White Lung are a vehicle with only one gear, and one that has now run out of road. [Jan 2023, p.88]

Duffy's devotional regard toward his own aesthetic rapture is sometimes cloying, but these are also beautifully mellifluous and impressively composed recordings. [Jun 2015, p.91]

Occasionally... there's a sense of things being too studied, the brain doing the work of the heart. [May 2003, p.106]

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

The debut set from New Albany's Houndmouth suggests there's more to them than nice skinny jeans. [Aug 2013, p.88]

Their big sound has a wide sonic palette, from the spacey keyboards of Honeytrap to the baroque strings and synths of Sunny, but there are some less inspired moments. [Oct 2015, p.91]

This trance-inducing seven-piece evoke arcane loci, spirits and serpents. [Oct 2013, p.98]

In sonic terms, it's considerably more aspirational than even last year's Sun And Shade, allowing Earl's take on various ages of American song-craft to snap into sharper focus. [Nov 2012, p.84]

Her voice packs a punch, her songwriting is solid, and the album--while a little over-polished--is bursting with confidence. [Jul 2010, p.94]

This is an album restless in its search for the new, the sound of White's reinvention in progress, scorching the Earth in anticipation of what might follow. If it misfires on occasion, it's certainly never dull. And if it never quite reaches its destination, it's still quite a ride. [Apr 2018, p.84]

Producers Mike Elizondo and Rob Cavallo smooth away many of the rough edges, and it's the tracks that escape the industry sander that are great. [Mar 2013, p.87]

Overall, Preacher's Sigh & Potion ... has a sketchy feel that will likely only appeal to those keen to hear every stage of Dear's musical development. [Aug 2021, p.95]

There's a telepathic harmony to their nuggety pop chug. [May 2016, p.86]

There's beauty and imagination aplenty here--but maybe a slight whiff of Pseuds Corner, too. [Apr 2015, p.91]

It peaks with the opulent nu-disco of Tempest. [May 2014, p.93]

California Nights comes over like a dreamier take on Hole's Celebrity Skin or a souped-up. digitally-produced Go-Go's. [Jun 2015, p.86]

Respite is infrequent with Blanck Mass, but when it arrives, its effects are heightened. [Sep 2019, p.91]

There may be a couple too many mid-tempo chugs among Phantom Birds' 13 tracks, but Berry has a knack for lyrics that pick away at self-doubt and brave public faces. [Nov 2020, p.86]

Peaks on Joy Division-ish New Structures and the helter-skelter title track. [Oct 2016, p.100]

The Ghost In Daylight is a memory-haunted journey through the dead voices and deep narratives of Englands lost; broadside ballads culled from earth and sea. [Jun 2012, p.87]

A souffle-light concoction of tape loops, odd samples, and fey vocals. [July 2000, p.118]

With contributions from one third of Grizzly Bear, lilting vocals and arpeggiated guitar chords are gracefully manifest. [Sep 2013, p.96]

Tough to take in one sitting, The Outsider nevertheless boasts enough fine 'deep cuts' to be a keeper. [Sep 2006, p.98]

The hobnailed thud and electronic clatter of Youth and Love riot force the seriousness but when they hit their exuberant stride, they pull on legwarmers and dance the night and cold away. [Dec 2012, p.88]