She has the voacl talent of a young Alison Moyet, and thankfully this debut lives up to expectations. [Mar 2008, p.112]

Cavalcade harbours considerable thrills for those up to its challenges. [Jun 2021, p.83]

This belated reunion has developed further into thr most affectingly sad, sweet, sepia sound rooted in Marcus's forlorn vocal and delicate ripples of detail--jazzy-to-motorik rhythm and haunting synthetic drones. [JUly 2008, p.102]

Dead is visceral, propulsive and bursting with life. [Mar 2014, p.88]

Brass blasts and strings reveal cinematic vistas. [Jun 2017, p.95]

An enfolding, transcendent work of aural theatre tracking Artaud's journey. He would probably have approved. [Jun 2019, p.94]

Her naturalistic voice is a relaxed conduit to elegantly detailed songs about the psychogeography of er native Cardiff (Ghosts Of You), expectant motherhood (St Ives New School) and Jarvis Cocker dancing stylishly alone (kitchen sink pop jangling Dancing ON Volcanoes). [Aug 2025, p.79]

The Candy House's garbled distress flare or the My Bloody Neubauten of I Don't Miss My Mond confirm she is still picking up signals nobody else can, [Apr 2024, p.88]

It's all about Rosanne's voice. And she's rarely sounded better. [Nov 2009, p.96]

Essential listening for serious-low-life connoisseurs. [May 2012, p.101]

What Realism does best is preserve Merritt at his most real, a blend of Cole Porter, Morrissey and Eeyore, a master of what he labels as "cosy, charming, subtle" gestures, which on several occasions (especially You Must Be Out Of Your Mind and I Don't Know What To Say) reach a level of miserablist perfection. [Feb 2010, p. 95]

This is an inspired set that reveals new ways of hearing pop classics. [Mar 2023, p.84]

The Darkness swoop dangerously close to parody, but pull off the dizzying, sublime soprano hi-jinks of I Believe In A Thing Called Love, the deft pop-rock of Friday Night and Love On The Rocks WIth Ice's overbearing machismo with the grace of seasoned circus acrobats. [Aug 2003, p.98]

A desire to keep old traditions alive while redefining them for the 21st century drive Son Little aka Aaron Livingston, and with his excellent second album, he's achieved that. [Oct 2017, p.95]

It's the feeling of almost imperceptible menace that makes Bubblegum so unsettling. [Aug 2004, p.84]

This time nuance embellishments lend greater power and depth. [Oct 2015, p.90]

The album might almost be a study in stretching the limits of silliness, cliche and old-school rock'n'roll unreconstruction... [Jul 2001, p.114]

“People say people my age shouldn’t be making records,” Hunter has said. With his mind still agile, his piano playing still on top form and his voice still strong, Defiance Part 1 makes a nonsense of that. At 83, Hunter also sounds much more starry-eyed about rock’n’roll than he did in Diary Of A Rock’N’Roll Star. [May 2023, p.90

These are exquisitely sad songs of spare belongings and reduced circumstance, about men who fail, and the women who stay with them. [Dec 2018, p.91]

The trio's key facet is their instrumental nous, all hypnotic tension and release with abrupt chord/gear shifts. [Mar 2026, p.88]

What more than saves the day here is a better-than-good melodic performance from Elton, and an outstanding set of lyrics by Bernie Taupin. [Oct 2006, p.98]

A brave, inspired step into the unknown. [Nov 2014, p.100]

Volta bristles with life. [Jun 2007, p.102]

It's gauzy visions suggesting some rediscovered private press folk oddity from the '70s, Segall's faultless melodic instincts lent an edge by Bolan-esque warble, inward-looking lyrics and, on Saturday Pt 2, wild saxophone duets. [Aug 2022, p.87]

Lovely. [Apr 2017, p.96]

This potent return affirms Finn heeds his own advice. [Mar 2014, p.90]

This is as moving and real as Orton has ever been. [Oct 2022, p.86]

Balf Quarry sees the duo swaggering through louche wah-wahed blues, no-wave barn burners and salty pop ditties, culminating in an eerily beautiful, piano-haunted fever dream. [May 2009, p.109]