A racket in the best possible way. [Sep 2016, p.108]

Pleasing, interesting, but not especially gripping. [Nov 2018, p.102]

Occasionally needs higher definition, yet her brittle voice and watchful lyrics cut through the Cocteau Twins grunge of With Love, the eye-rolling daze of All My Friends Are Drunk, the slacker energy of Keep It Near. [May 2020, p.100]

If listening to this record feels like eavesdropping, however, what's overheard is emotional dynamite. [Feb 2016, p.109]

Thankfully, it avoids the easy traps of earnestness or tweeness, and emerges as an intriguing, convincing listen. [Jan 2013, p.108]

The songcraft is so taut that whether this howls, drifts, pummels or floats, it remains utterly engaging. [Aug 2012, p.102]

Grey Britain is at once more accessible than its chaotic predecessor, "Orchestra Of Wolves." but also harder hitting. [Jun 2009, p.122]

There isn't a weak link amongst these 12 enormously impressive songs. [Nov 2014, p.117]

The Dolls tighten their musical corset with beguiling style. [May 2006, p.123]

Spine-tingling electronic experiments from Denmark. [Aug. 2011, p. 127]

Echoes of early Pink Floyd, Saint Etienne and a tougher Vashti Bunyan prevail, but this is an original and haunting collection. [Sep 2017, p.109]

It's nowhere McCartney hasn't been before, yet it's still richer and more varied than he's been in years. [Jan 2009, p.116]

Further proof of Hersh's glittering place in the rock firmament after two decades of making music. [Mar 2007, p.112]

A rich and varied album, fans of Sonic Youth's less abrasive, song-based output of recent years will find much to savor here. [April 2012, p.102]

Numan and collaborator Ade Fenton complement the narrative with a sand-blown, Eastern gothic mood, featuring use of Arabic scales, which evoke a desert within the human soul as much as any hypothetical desert Earth. [Oct 2017, p.107]

This is laregly classic pastoral English whimsy at its best. [Apr 2007, p.119]

The likes of 'Americans Abroad' and 'White People For Peace' pick up where Green Day's "American Idiot" left off, channelling righteous fury into a racket that's as vigorous as it's earnest. [Sep 2007, p.88]

This push 'n' pull between pop and rock, sweet and sour, is a motif throughout but, crucially, Suck It And See also comes with a spacedust kick. [July 2011, p. 104]

It's a one-tempo caramel cream of an album--sticky-icky and irresistible. [Feb 2014, p.110]

Their second studio album does have a strange charm, in short doses. [Jun 2016, p.108]

Visuals spatters Mew's art-rock sensibilities on a pop canvas. [Jul 2017, p.111]

It's his most enjoyable music in two decades. [May 2017, p.112]

It is a track or two too long. ... But that aside, Why Me? Why Not. is a triumph, one that proves As You Were was no fluke and that Lia Gallagher is well and truly back on track. [Oct 2019, p.104]

Tellingly, there isn't a weak song here, just 13 slices of original Pirate material. [Mar 2008, p.108]

His first widely distributed release, is no vanity showcase. It's an album of acoustic, guitar-based singer-songwriter pop, although not quite as sparse as that sounds. [Nov 2008, p.107]

Pressure And Time is a powerful, soulful affair full of strut and swagger. [Aug. 2011, p. 119]

This is a starry-eyed celebration of yearning on a US factory floor, as idealised by British spa town punks. [April 2012, 105]

The grooves stay warm and loopy. [Jan 2013, p.108]