Lean and modest throughout, Don't Let The Kids Win reverberates with a sense of truth that only the truly exceptional can convey. [Nov 2016, p.110]

Like Old Crown's best stuff, it evokes a time our of mind. [Sep 2014, p.112]

Variously heartrending and uplifting, Lateness OF Dancers is enriching stuff. [Oct 2014, p.110]

Merrie Land works best when these sounds and visions come together in an impressionistic haze. [Dec 2018, p.109]

Seeking Thrills is an artfully constructed yet instantly enjoyable tribute to dancefloor deliverance in all its forms. [Feb 2020, p.117]

Spoon are a band who are impossible to second-guess, and one deserving of much more attention. [May 2017, p.101]

The weaponised theatricality never overshadows a set of songs that are as entertaining as they are grandly ambitious. [Apr 2019, p.116]

Throughout Grace is brave and brutally honest. [Mar 2014, p.107]

It's one of their finest. [May 2013, p.98]

What results is almost a straight collection of intimate folk and pop. Like constant rainfall, though, his continued use of audio interference is the sonic frame that gives the songs their otherworldly depth and scope. [Aug 2017, p.103]

By far their most effective release.

It's the tender slow rollers that really clinch this supreme collection. [#180, p.97]

After a decade as pop's court jesters, Kaiser Chiefs have finally found their true voice. [May 2014, p.106]

Rarely longer than three minutes, Zomby tracks don't make much sense in isolation but the cumulative effect over 80 minutes is moving in ways that are hard to explain. [Jul 2013, p.113]

Kingdoms In Colour maintains its atmosphere mainly through its use of hypnotic rhythms and light, primary colour trippiness. It could well be the perfect end-of-summer soundtrack. [Oct 2018, p.112]

More than the sum of their parts, if there's a collaborative sweet spot, this record hits it. [Oct 2016, p.111]

Classic thrash gets proper remastering for 25th birthday. [Sept. 2011, p. 123]

His best uptempo record since Odelay. [Nov 2017, p.109]

His world of heartbreak, damage and survival attains an out-of-time quality that admirers of superior barroom soundtracks will warm to. [Sep 2014, p.113]

Across these songs, Bridgers manages an unusual marriage of delicacy and lo-fi wit, and it's a union that has led her to quietly make one of the albums of the year. [Dec 2017, p.102]

Impressively, all this is delivered with sufficient panache to make it sound fresh and exciting, rather than merely eager to please. [Jun 2004, p.105]

Ultimately Sola's muse remains rooted in the nocturnal. [Jan 2019, p.113]

Tracey Thorn dispatches these carefully chosen covers and four new tracks with realism and a lightness of touch. [Nov 2012, p.106]

Wincing The Night Away is super-smart pop music the way they (Brits, mainly) used to make it 20 years ago. [Feb 2007, p.100]

Moving, in every way. [Apr 2020, p.113]

A staggering, intoxicating record. [Dec 2013, p.116]

At it's best, it's impeccable. [Jan 2013, p.107]

Despite its occasional missteps, this is a highly impressive debut. [May 2019, p.108]

Rootsy San Diego five-piece Delta Spirit's debut is a thought provoking surprise. [Apr 2009, p.102]

The threadbare production which previously stretched ideas to breaking point has been bolstered, adding a warmth to the jangly 626 Bedford Avenue and cocooning the break-up ballad My Japs in plucked acoustics and distant percussion. [Jun 2019, p.111]

A complex album that reveals more with each hearing. [Oct 2009, p.110]

Comeliness and brutal candour in equal measure. [Jun 2003, p.92]

Band Of Skulls may be taking a slow route to the top, but the peak is definitely within view. [May 2014, p.107]

An album made for--and from--these times. [Aug 2019, p.112]

He makes a quantum leap forward on his new album. [May 2011, p.112]

Unabashed whimsy merges seamlessly with melodious garage rock. [Jul 2003, p.100]

With Electric, Pet Shop Boys have succeeded spectacularly. [Aug 2013, p.92]

Thanks to digital tweaking, boy does it capture them swinging and the four bonus songs are most welcome too. [Oct 2016, p.115]

A compelling new Brit-folk triumph. [Nov 2017, p.115]

Alicia Bognanno's diary-like vocals still slide from ingenue-like to raging screams and back again but now her delivery is a little more taut. It makes the bits where she loses control feel very real. [Dec 2017, p.102]

Powder Burns could be a sister album to Black Love, [Afghan Whigs'] career high. [Jun 2006, p.114]

AJ Tracey not only lives up to his hype, he transcends it. [Mar 2019, p.114]

Another smart and limber record. An astute choice of collaborators plays its part. [Oct 2010, p.116]

His world-weary vocals are leavened by his winning way with clinging melody and an overpowering sense of impish, but committed adventure. [Apr 2016, p.108]

Touching and thoughtful, these 16 tracks are tended with the same care Clark brought to his beautiful storytelling. [Jun 2019, p.111]

Presenting a sound closer to the black-hearted blues of their Brummie idols more than ever before. [Apr 2015, p.97]

Their eighth LP brilliantly snaps together everything. [Mar 2014, p.117]

The Mountain boys at the--ahem--peak of their powers. [Apr 2009, p.107]

This doesn't veer wildly in style from Vile's previous four--he still sounds like a stoned Springsteen singing from the bottom of a well--but his songwriting reaches a mesmeric peak. [May 2013, p.112]

If the delivery mechanism is different, the payload is pure Bruce. [Summer 2019, p.106]

Nine Types of Lights finds them boldly going forward with their most cheerful, party-centric effort to date. [May 2011, p.123]

As synth-rock rebirths go, it's highly convincing. [Jun 2003, p.95]

As before, it's a heady swirl of rock, soul and hippy lyrics. However, it feels fantastic and, unless the record company is snoring soundly, it's full of hits.

The remaining selections cover Newport appearances from all the major phases of his career. [Sep 2015, p.119]

Exhaustive notations render this essential for enthusiasts. [Oct 2016, p.115]

Their fourth LP is their best yet. [Nov 2017, p.112]

The most ebullient British debut since Elastica. [Mar 2004, p.102]

The real highlights are when the orchestra are left to fly, communicating the powerful feeling underpinning a reunion that was clearly as poignant as it was joyful. [Jan 2017, p.104]

It's clear where this record's from, but where it's at remains an alluring mystery. [Mar 2017, p.112]

Over eight tracks, they can sound both oddly antique and modern. [Mar 2017, p.107]

Recorded at LA's Ocean Way studios, his 10th album sees his screwball pop vision go widescreen. [Oct 2010, p.112]

After years of playing to fanbase expectations, Gray has reinvented not only himself but raised the bar for folktronica. [May 2019, p.112]

A pleasingly, gently adventurous collection. [May 2018, p.104]

Admittedly Maas is hardly reinventing the wheel here, but there's a freshness and pace that's been missing too long. [Mar 2002, p.126]

This album - musically more extravagant, lyrically just as searching - takes its place at the shoulder of 1994's Stones In The Road as her best yet.

A perfect late-summer soundtrack on a par with their 2009 masterpiece Fits. [Sep 2018, p.114]

A real leap forward. [Apr 2005, p.126]

What could be desperate instead dazzles, thanks to a combination of shiny pop smarts, hands-aloft anthemics and, in the case of Freddie Mercury-alike singer Luke Spiller, the kind of unembarrassable charisma they rarely manufacture any more. [Dec 2018, p.114]

Eccentric as ever then, but there's no denying the continued originality of the sound. [Dec 2012, p.102]

The Navigator feels like a mighty, empowering antidote to 2017's many spiritual agonies. [May 2017, p.105]

Five years away hasn't damaged their ability to wow and Hesitation Marks puts Trent Reznor's soundtrack albums into context; here, he sounds at his very best and right where he belongs. [Oct 2013, p.108]

Rarely has a band justified the attention put upon them so beautifully. [Jun 2019, p.112]

It's moments like this [on Malibu Man] when Auerbach hits the classic soul button that his versatility really shines. [Jul 2017, p.113]

Goulding is packed with intriguing contradictions and you can sense most of them on Lights.[Apr 2010, p.107]

Not quite a masterpiece, Echoes still shows why New York rock currently feels a million times more exciting than Britain's woefully safe equivalent. [Oct 2003, p.114]

All Mirrors strikes an impressive balance between familiar and strange - resulting in an album that's startling and breathtakingly beautiful. [Nov 2019, p.109]

Sounds dangerously like a genuine hip-hop album. [Sep 2014, p.114]

There's a real depth to an album that is brimming with inventive, clever hooks and individualism. [Oct 2014, p.114]

Lex Hives fizzes with the energy of a debut album, the quintet emphatically back to doing what they do best. [Jul 2012, p.103]

Bananas but in a good way. [Jan 2018, p.106]

Bainbridge reveals himself here not as an exhaustingly pseudy hipster but rather a songwriter of singular depth and emotion. [Nov 2014, p.114]

[A] melting-pot maelstrom. [May 2017, p.107]

Tired Pony have given side-bands a good name. [Aug 2010, p.121]

As her previous two albums showed, Moss is a dab hand at writing about affairs of the heart. [Apr 2016, p.105]

Even now, few do it better than Wire. [May 2017, p.112]

Though rhythmically powerful, it's Hutchings's fluttering, forceful sax that is the totem around which this album prances with energy and adventure. And it's a blast. [May 2019, p.108]

Her latest album is a little more conventional but no less arresting. [Oct 2013, p.99]

It's not as obviously retro as, say, techno DJ Paul Woolford's recent Special request project, but there are similar flashbacks to the darker end of '90s drum 'n' bass. [Mar 2014, p.108]

An album that shows just how ambitious, fresh and vital-sounding guitar music can still be. [Jun 2018, p.108]

Less dazzling than Silent Shout, but The knife still create a world like no one else's. [May 2013, p.105]

Five tracks from the album were released as the Wake Me Up EP late in 2013, but on an album packed with possible alternative hits, the future is already his. [May 2014, p.107]

{The Birthday party is ] more like an unfortunate scratch on what is otherwise a miniature jewel of an album and one of those rare side-projects that deserves a long life of its own. [May 2011, p.117]

Priapic pub rock of the very highest voltage. [Apr 2010, p.106]

More tightly structured than their last outing TNT, this has enough dizzy polyrhythms and craziness for the free jazzers but is chock full of tunes, good humour and a certain grooviness

Toronto six-piece deliver a killer concept album. [July 2011, p. 113]

His most consistent work since 1991's Diamonds And Pearls, although you'll need to ignore the peculiar narrative episodes in order to fully enjoy it. [Jan 2002, p.106]

The 30-year-old's debut album proper is a thing of hushed beauty. [Jul 2015, p.106]

There's a focus here that would have your average Grateful Dead fan running screaming for the hills. And that in itself is a triumph. [Oct 2010, p.112]