As ever, it's wildly inventive. [Jul 2017, p.108]

It's not a wildly eclectic trip, but for dependable hooks and relatable emotion, Alvvays are spot on. [Oct 2017, p.100]

Delights in filtering classical motifs through electronic effects. [Mar 2018, p.104]

Tracks such as The Way It Goes or Suck It Like A Whistle are dynamic, dramatic rap-funk, which find the ambition to measure up to her obvious talent. [Mar 2019, p.118]

The music here is more than arresting enough. [Jul 2020, p.113]

Dream Wife draw on the politicised ire of Le Tigre and Bikini Kill while putting their own fun, frivolous spin on things. [Feb 2018, p.111]

Using multiple, often unsystematic rhythmic modes, this alien mood is sustained, though when Kode9's late lyrical foil The Spaceape makes a spectral appearance in the fleeting Third Ear Transmission, you're reminded of how much he contributed. [Dec 2015, p.109]

At 10 tracks, it's a concise and perfectly paced record, veering between subtlety and stampede. [Oct 2015, p.100]

Primal Scream haven't sounded this vital in at least a decade. [Jun 2013, p.97]

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

Ferry has covered so much ground that it's hard not to repeat himself. [Apr 2002, p.112]

Their debut is a giant leap in the right direction. [Jul 2011, p.118]

The result is a vibrant hybrid of bass-heavy beats and ragga toasting that echoes the digital dub revolution that swept through reggae in the mid '80s. [Aug 2009, p.109]

The best Graham Coxon imaginable. [Jun 2004, p.97]

Wearing their influences as badges of honour, the New Jersey quartet blast out affecting, soulful punk rock strewn with bitterweet memories of small-town blue-collar America. [Sep 2008]

The emphasis is on big, radio-friendly choruses, four-part harmonies giving an euphoric dimension to their punk-influenced sound, with less of the earlier complex angularity. [Jun 2010, p.127]

Downtempo triumph from Seattle indie journeyman. [July 2010, p. 135]

Serotonin finds them back in more familiar territory, delivering screwball pop gems under the guidance of veteran knob twiddler Chris Thomas. [Aug 2010, p.123]

The result is like a more chaotic Nirvana or Dinosaur Jr, with gentle diversions into geeky indie, drone-rock and fuzz-pop that only enhance the racket-making around it. [Apr 2013, p.109]

Much of Brighter Wounds is beautifully textured and sonically impressive but songs feel constructed from carefully plotted blueprints, which doesn't leave much room for nuance. [Apr 2018, p.115]

If Williams would only take the time to explore just a few of the ideas he presented here, his album would be far deeper than it is broad.[Mar 2016, p.117]

Such is the electronic murk elsewhere, it feels better to dabble your toes in this record than plunge right in. [May 2011, p.120]

This isn't music designed to be passively enjoyed and it's all the more thrilling for it. [Apr 2014, p.116]

The songs here convey life's troubles - failing relationships, feelings of rootlessness - with an unfeasibly languid, almost opiated calm.

This really is a joy. [Dec 2001, p.121]

Three's still something fresh about Stereolab's brand of trippy space pop. [Mar 2004, p.112]

Both in the lyrical themes and in its sound, we are floating in familiar space. [May 2017, p.104]

Angels Of Destruction builds on the momentum of 2005's "If You Didn't Laugh You'd Cry." [Feb 2008, p.99]