Mood music with a soul. [Oct 2011, p.112]

Your tolerance for extended jams will be tested but it's a varied and mesmerizing trip nonetheless. [Jan 2012, p.124]

Matt Shultz makes a natural showman firmly in the mouth Perry Farrell mould. Front of house taken care of, it's then just a matter of pairing the noise and excitement, something they achieve in short, sharp bursts with room to spare. [Apr 2011, p.98]

More downtempo delights from Rhode Islanders. [March 2011, p. 106]

Its best moments--Around The Bend, Traveller--are all about Wainwright, her elasticated voice and deft melodies. [Jan 2017, p.115]

Oldham has been so far ahead of the folksy Americana pack for so long that it now sounds like he's even caught up with himself. [Jan. 2012 p. 119]

She's not ready to call time just yet. [Jan 2013, p.105]

It takes time to reveal its charms and does sag towards the end, but Depression Cherry is a great example of a band hanging on to their trademark sound and managing to create something fresh with it. [Sep 2015, p.111]

As strident as the MC5 yet as playful as Pavement, White Denim sound like the best rock'n'roll party you've ever gatecrashed. [July 2008, p.111]

Only Revolutions has enough in the way of nous, intelligence and tunes to broaden their audience immeasurably. [Dec 2009, p.122]

Time Flies... is the memorial to the greatest rock'n'roll cartoon of them all, one which, re-formation dreams aside, ends here now. [Jul 2010, p.144]

Third album Fake history is a whirl of clattering hardcore, gymnastic screaming and raw-edged, blazing riffs. [Jun 2011, p.114]

Rather than merely bashing out folk takes on [the songs of Wyatt and Antony], they've remodeled them, retained the sense of gravitas and added a fan's love. Gorgeous. [Feb. 2012 p. 111]

The arch, sometimes claustrophobic Macaroni demonstrates Conn's muso-like command of often juxtaposed genres. [May 2012, p.95]

["Cadillac Walk" is] a refreshing change of pace on an album whose smoothness palls just a little over 12 songs. [May 2013, p.110]

Odd couples don't come more unlikely, nor as complementary. [Jun 2013, p.95]

Rather too many hats, perhaps, but still an impressive showcase. [Mar 2013, p.105]

There's little outright originality, but they're melodically strong and the male-female vocal interchange between Andreas Pallisgaard and drummer Jaleh Negari is captivating. [Sep 2013, p.107]

Trad country and honky tonk duke it out with outlaw attitude and roadhouse rock, a high ground meeting point between early R.E.M. and Drive-By Truckers. [Feb 2014, p.120]

The restless desire to cross-pollinate disparate musical genres doesn't always work. [Feb 2015, p.113]

It's not perfect, but there's enough of their magic here to see even Harry Potter fall back under their spell. [Jan 2016, p.106]

Feels like a sideways step. [Jan 2016, p.113]

For a marriage of new ideas with old traditions, look no further. [Mar 2016, p.108]

A song cycle that ruminates on his condition and travails to an orch-pop soundtrack of piano, strings and voice. [#361, p.111]

[Johnny Lynch's] third album proper features confident, spangly pop music with beats as sneaky vehicles for stories of murder, primal blood rites and near-death experiences. [Nov 2016, p.113]

An album where technological trickery frequently delivers real magic. [Jan 2018, p.110]

A more approachable set that engulfs his melodramatic grumble with dizzy synths and sax from Chicago extraordinaire Mantana Roberts. [Feb 2019, p.115]

Quietly, and confidently, Two Door Cinema Club march on. [Summer 2019, p.116]