The mainstream looks a long way off again from here. [Sep 2012, p.97]

This seventh official LP is definitively their best so far. [Oct 2013, p.113]

A record to get lost in. [Jun 2015, p.99]

When he departs from the template, Foreverland truly excels. [Oct 2016, p.107]

At times they resemble a pumped-up Black Rebel Motorcycle Club, but it's not all "you want some?" antagonism. [Mar 2019, p.120]

Deftly blending the celebratory and contemplative, Bainbridge has created a dance album that works as much on the mind as on the body. [Apr 2012, p.99]

The mood is largely sombre, quiet reflection the order of the day, although the odd striking lyric does leap out.... A grower. [Jun 2015, p.102]

While a creditable effort, it's unlikely to be a record that drags their heads too far above the parapet. [Jan 2016, p.114]

The irrepressible bounce of these tracks outweigh the poignancy, though. Viola Beach have a debut their families can be proud of. [Sep 2016, p.114]

The best moments are the ones that--whisper it--don't sound anything like the Grateful Dead. [Jul 2016, p.118]

There is a prevailing, bleary charm in its warmest moments - Eveningness, White Galactic One - that make Lockett's latest well worth investing in. [May 2012, p.101]

A hideous mess of electro noodling and maddeningly obtuse, tuneless vocals. [May 2006, p.126]

His most impressive feat is that the whole thing never once descends into Kravitz-sytle pastiche. [Dec 2007, p.116]

Lovely stuff. [Sep 2010, p.120]

Her attempts to swagger on songs like Dirty Dog will fool nobody. [Aug 2004, p.112]

Get Well Soon is a starkly beautiful record that mines the sounds of the last four decades of Americana. [May 2011, p.126]

Utilitarian is hardly an artistic leap yet is indisputably still Napalm Death. [Mar 2012, p.105]

Two Wounded Birds are an exotic rarity; a band that performs pastiche without sounding anything other than utterly authentic. [Jul 2012, p.112]

He's at his best on the doom-laden What's So, where guitars clang like church bells as White Broods over soul-selling and eternal damnation. [Sep 2016, p.114]

It shouldn't work, but it does and Harrison's melancholic melodies floating above the sonic swamps of London Water and Summertime Police prove that he's operating in no one's shadow. [Nov 2017, p.108]

Beware displays enough of Oldham's lyrical and musical guile to ensure that if Beware does become wallpaer, it's lead-laced anaglypa. [Apr 2009, p.100]

When backing singer Becky Jacob's voice is brought tot he fore, it wraps around Linday's like a warm hug, leaving you feeling that Tunng are the band you'd most like to watch sunrise over the stone circle with. [Apr 2010, p.114]

Elvis Perkins in Dearland is more than good enough. [May 2009, p.117]

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

Irwin peppers her songs with Southern Gothic characters, while her keening, naive voice suggests remote mountains where dark deeds are the norm. [Oct 23012, p.94]

It doesn't eclipse their finest work, but if Toy is to be their farewell, it's a fine way to go. [Nov 2016, p.114]

Princess Nokia's genre-surfing might be attention-grabbing, but it's her honesty, openness and clarity of expression that make her a musician you can really invest in. [May 2020, p.111]

Tightly controlled melodic songs reminiscent of R.E.M. or The Velvet Underground. [Oct 2006, p.120]