There are shorter tracks, but the longer songs (averaging seven minutes apiece) are the real gems. [Dec 2021, p.89]

Relationships with uncomfortable endings, uneasy attractions, and deep personal loss pepper Fullbrook's songs, but her Tiny Ruins bandmates consistently lift her into the light, creating warmth and depth rather than leaving the listener in endless gloom. [Jun 2023, p.86]

Accompanied by electronic and acoustic instruments, Brett's baritone sounds less sombre on this album, more rich, relaxed, even crooning on Strawberry Moon - a perfect foil ro Rennie's vision of a world full of blood and ghosts. [Oct 2023, p.83]

With this fluid, free-raging music, Raymond is in a world of her own - one with several moons and its own intoxicating atmosphere. [Oct 2025, p.85]

A whirl of young Tina Turner energy and powerful, expressive vintage soul vocals. [Dec. 2011 p. 98]

The album's blend of '70s Euro-flick iciness, shag-pile funk and dark lyricism make for an intriguing and sophisticated treat. [May 2016, p.86]

A compelling, grimy darkness ripples throughout. [Nov 2020, p.82]

The resulting 12 songs return the group to their earlier sound, a chaotic bundle of charm and romance, realism and poppy experiment. [Dec 2020, p.83]

Over 50 years on, it remains a remarkable achievement, not just for its ambition but its execution. [Nov 2022, p.96]

A Dirty Three, free-folk weirdness takes Sophie Harris's vocal theatrics somewhere darker. [Jul 2026, p.93]

Centralia's seven lengthy essays proffer the duo's boldest, most immersive statements to date. [Mar 2013, p.88]

Her balance of mesmerising, confessional intensity with sculpted pop instincts remains an unfailing pleasure throughout. [Mar 2022, p.85]

Fine follow-up. ... McBryde's charisma remains centre-stage. [May 2020, p.90]

The Truckers have always been a direct band but this time there's a kind of foreplay, where each song gives the other time and consideration. [Mar 2008, p.100]

It's an immersive, and inevitably cinematic, ambient gem. [Oct 2011, p.105]

This is taut, Blondie-cool guitar-pop with a finger on the self-destruct tab. [Oct 2018, p.90]

A succinct record about wisdom accrued through adversity, its layered arrangements packing subtle psych tropes and world-weary vocal-harmony. [Aug 2024, p.88]

Their debut exists in a musical moment, conjuring a freedom and thrilling abandonment in its hypnotic shuffle boogie and punky blues rock riffs. [Mar 2015, p.93]

Self-produced and tracked with manifest passion and finesse. [Apr 2016, p.94]

Parlay music that while irrefutably folk, gleefully shoves aside traditionalist tropes in favour of a buoyant, full-bodied combo sound, that, passingly, recalls prime Fairport Convention while proffering a beguilingly mellifluous identity of its own. [Apr 2017, p.98]

This lively Welshman isn't rolling over just yet. [May 2021, p.78]

Alongside the adolescent energy, they also give vent to decidedly adult passions. [Nov 2011, p.93]

Dan Snaith goes liquid disco on his fifth album. [May 2010, p. 96]

The dozen self-penned songs blend traditional genres rather than rewriting the style guide, but that weight of musical and emotional heritage only adds to the compelling effect of the whole. [Jan 2004, p.99]

It doesn't matter whether we're spying through his windows when he's so clearly spying through ours, his peculiarly stilted narratives and ageless music fusing into universal images of loneliness. [Feb 2003, p.94]

An album ragged with last-ditch lunges of fuzz-noise and burnished vocals. [Feb 2004, p.99]

Invigorating and intriguing, as hummable as it is inventive... it's also possibly the best thing Blur have done. [May 2003, p.88]

His previous album Midnight At The Movies was good, perhaps not Americana Music Award-winning good, but I'm not in charge. This one, However is way better, an album I wanted to play again as soon as it was done. [Oct 200, p.101]