All the things he once did well, he's still doing here. [Oct 2011, p.112]

Bought To Rot is, then, something of a palette cleanser: both wider in scope and lighter in tone. [Dec 2018, p.108]

A thrilling joyride through reggae's golden era and beyond. [Jan 2020, p.117]

If last year's Spanish El Turista was Josh Rouse embracing his new European home with a vengeance, this time around he's deployed his resources with more subtlety and made a better record. [Nov. 2011, p. 140]

The result is an album designed for the feet as much as the head. [Mar 2020, p.106]

A fourth disc of out-takes shines a light on alternate versions and work-in-progress songs that would surface on later albums. [Dec 2014, p.123]

The likes of Umbrella Beach, Cave In and Vanillla Twilight blend bittersweet longing, wintry elemental imagery and melodies that worm their way into your consciousness with effortless aplomb. [Apr 2010, p.119]

No Shame is a reminder that this is what Allen does, and she does it very well. [Summer 2018, p.111]

With Tarot Sport, Fuck Buttons have made a career-defining album that will resonate with anyone who has ever spent a night with their head in the speaker stacks and gone home marvelling at the ringing in their ears. [Nov 2009, p.106]

While there's lots to admire in this clearing of the creative pipes, 48:13 is ultimately proof that great albums are all about the numbers. [Jul 2014, p.98]

Thanks to their guileless sincerity and boundless invention, The Lemon Twigs manage to pull it off. [Sep 2018, p.111]

The albums are interchangeable, neither one being the stylistic leap that was Is A woman in comparison to its predecessor, Nixon. [combined review of both discs; Mar 2004, p.112]

It's the perfect balance of serious pop and pop that doesn't take itself too seriously. [Dec 2019, p.107]

Some tracks are more outre than others... but throughout his sustained, idiosyncratic vision is absorbing. [Dec. 2001 p. 123]

Forster's songwriting is crisply understated, his salt-and-pepper voice perfect for the succulent storytelling for No Fame and Life Has Turned A Page. [May 2019, p.111]

Like a violent assault by a Moshi Monster, it's fluffy, frightening and utterly overwhelming. [Apr 2014, p.105]

Hope Downs shows how jangling indie should be done. [Summer 2018, p.114]

It really is hard to distinguish between the eight tracks here, but when a theme's this good, the variants are never going to be a problem. [Mar 2003, p.113]

Part Jewel-with-tunes, part Tori-Amos-without-kookiness, it noodles, but only rarely.

Dinosaur Jr producer John Angelo coaxes dreamy harmonies from their skewed sound. [Sep 2011, p.114]

It may be too late for the big breakthrough, but Harcourt has given himself a fighting chancce. [Jul 2010, p.133]

With a singular perspective though, Hand Habits are in a lane of their own. [May 2019, p.111]

It's a trawl through pop's murky subconscious, all mangled electronics, lurching beats and warped mantras. [Nov. 2010, p. 116]

The Noisettes have done a stylistic handbrake turn for the follow-up, and come up with an intoxicating blend of pop, soul and disco. [May 2009, p.116]

A couple of the songs are grunge by rote, but the art-rock sensibility gleaned from Weiland's old David Bowie albums is evident in the whispered Hell It's Late. [Oct 2001, p.130]

This is nervy, restless music for turbulent times. And all the better for it. [Aug 2018, p.113]

An utterly furious assault of gritty doom riffs and whisky-addled power, chugging, twisting and thundering with an energy the band have not found in years. [Jun 2012, p.100]

Old Rockhounds Never Die is ceaselessly exciting. [Sep 2018, p.118]