Chatham County Line's format has barely changed, but it has matured deeply. [Jul 2014, p.104]

Put the whole bag of tricks together and Pulled Apart By Horses have captured their own genie. [Oct 2014, p.118]

Wiggy, long-sought after 1976 LP utilises the trills, parps and hums of the pre-digital modular synthesizer to walk the circuit board between easy listening and ambient weirdness. [Aug 2019, p.119]

It's not hard to see where they're going--or coming from. [Apr 2014, p.121]

Murky depths, glittering enchantment, and the swell of heightened grandeur. [Summer 2018, p.109]

As much as it recaptures some of their buccaneering early spirit, it also shows off some explosive new tricks too. [May 2013, p.108]

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

It's relentless, totally one-paced, but somehow oddly refreshing. [Aug 2012, p.105]

It's bold, brassy and way more ebullient than a 75-year-old has any business sounding. [Jun 2012, p.112]

They've seemingly ditched their Wicker Man aesthetic for something altogether more contemporary, bringing in programmed with all the glitzy sheen of, in fact, an '80s revival. [May 2015, p.112]

It's Krell's gift, for immersive electronica, like the quivering Burning Up, which keeps him in a class all his own. [Nov 2016, p.108]

If the 17-track Pom Pom does little to un-muddy the waters, within its exploded binliner of '80s FM rock licks, novelty squelch noises and other home-recorded debris, songs of splendour lurk. [Dec 2014, p.106]

Cool Ghouls don't betray the influence of any music made in their own lifetime, but they have a broad enough palette to make their third album more than just a period piece. [Sep 2016, p.105]

The result is a brilliant rewiring of post-rave sonics. [Mar 2009, p.98]

Over 27 unpredictable tracks that run the gamut from soaring Byrdsian harmonic rock to the sound of wind in the trees played backwards, Black Foliage is a marathon.

Many will be quick to dismiss this as a shadow of 3 Feet High, but it's their loss when hip hop's as infectious and intelligent as this.

This stands up as a decent album of far-out wandering in its own right. [Jul 2014, p.101]

Fado is a harder sell, a stronger taste. Still, Lina's voice has an irresistible dramatic heft, and combined with the smudgy ambient arrangements, all dark wood and bitter coffee, she and Refree could fill a gap that non-believers might not know they had. [Apr 2020, p.111]

Despite [their] obsession with the everyday... The Rakes are never mundane. [Sep 2005, p.118]

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

Showing his mastery of modern music in all its form. [Jun 2020, p.98]

Destroyer attempts to shoehorn more incongruous elements into an already busy mix. [Summer 2019, p.108]

Brun's incredible voice - direct and moving - is at the centre of everything. [Jun 2012, p.117]

Liberated from Elbow's obligation to write at least a few songs big enough for arena stages and radio playlists, Garvey revels in lovingly crafted intimacy. [Dec 2015, p.102]

The two troubadours don't miss a trick bringing sepia-tinged majesty and tragedy back to life. [Nov 2016, p.102]

This is a joyful and respectful collection. [Feb 2013, p.107]

DMA's aspirations here are elite-class: Life Is A Game Of Changing channels New Order circa Republic, while Silver evokes peak-period Verve's reassuringly expensive shuffle. [Aug 2020, p.107]