The music is terribly dull, like a watered-down Weezer. [Dec 2007, p.125]

HIs fourth album is a step up from the patchy "Awfully Deep." [Oct 2008, p.150]

Frontman Brian Fallon serves up a mostly restrained and as a result more resonant set as an opening salvo for The Horrible Crowes. [Oct 2011, p.123]

It's a minor-chord menace, their darker surf-steeped vibe driven by steady percussion and hypnotic basslines. [Apr 2013, p.101]

A lovely collection of blue-eyed soul that sets out its stall right from 'Take A Chance's' opening parry. [Nov 2009, p.104]

Everyday Roberts is a wonderful record. [May 2014, p.104]

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

Heaven Is Whenever proves The Hold Steady are capable of messing with the script without diminishing their core appeal. [Jun 2010, p.125]

Arguably his best record in 20 years.

Completely beguiling. [Aug 2012, p.98]

He doesn't break into this persona often enough, slipping back into ILP's default tone. [Dec 2013, p.109]

Their near-ambient sound abides. [May 2017, p.111]

As twinkly-toed as debuts come. [Aug 2017, p.109]

Ceremonials is quite some achievement: an accomplished pop record infused with intelligence and imagination... It offers the final, conclusive evidence that she's a pop star to believe in. [Dec. 2011 p. 118]

Autolux balance droney post-rock and electronics with rare skill. [Sept. 2010, p. 113]

Shows that they can still craft radio-friendly rock with aplomb. [May 2012, p.93]

Anyone wanting more of the multilayered sense of foreboding afforded by 2016's The Glowing Man, Meanwhile, will be delighted by the pulverising Sunfucker and The Hanging Man. [Jan 2020, p.114]

Air thrive on existing at an otherworldly tangent and their cosmic bent is never far away here. [Feb 2004, p.99]

The world may have moved on but they haven't, so '80s funk backdrops merge with Sweet pea Atkinson and Sir Harry Bowen's classic soul vocals and some biting surreal lyrics. [May 2008, p.141]

For both Grohl and Homme, Them Crooked Vultures isn't a supergroup pitched at the world's stadia, but rather a pressure release valve from their highly successful day jobs, an opportunity to kick out the jams - this is very much an album based around heads-down, brain-disengaged, rock 'n' roll boogie jamming - and revisit the classic hard rock sounds they were reared upon. [Jan 2010, p. 114]

Not a novelty record, then, nor entirely old hat. [Jan 2015, p.128]

This doesn't have the deranged glee of Smash It Up, but follows the streamlined energy of classic 1982 Damned album Strawberries, with a stern rock pulse at a time when their contemporaries would be glad of any kind of pulse. [Jun 2018, p.109]

The projects most diverse and entertaining recording so far. [Aug 2019, p.109]

It's best experienced with the lights out, although as with most film music, it loses some frisson separated from Strickland's lurid images. [Feb 2013, p.102]

Here are songs that only the Pet Shop Boys could record. [May 2016, p.113]

At her best, on the eerie 'Every Path,' she's mesmeric enough to lure ships onto rocks, but come the inevitable 'Later...With Jools Holland' appearance, older viewers may be forgiven for thinking Dolores O'Riordan has changed dramatically. [Mar 2009, p.96]

With genre-hopping abandon he enlists Spanish guitars, jazz bass, reggae horns, rock drums and disco synths, relentlessly asserting that commercial viability and imagination don't have to be mutually exclusive. [May 2005, p.112]

Crowell co-writes the majority of these 11 new songs, covering all the bases from nostalgic regert to downright weepie, highway anthem to cajun-flavoured rug-cutter. [Jun 2015, p.107]