Although this is a little more concise than their usual output, everything else about their blues-rock bruisers is business as usual. [Apr 2013, p.100]

Far from a mid-life indulgence or quirky side project, this is a brave and beautiful album. [May 2013, p.102]

Chastising them for not reinventing the wheel seems churlish when they sound like they're having so much fun spinning the old one. [Apr 2013, p.111]

Palms is a heavy, explorative listen. [Aug 2013, p.96]

His ambitions, and trademark gruff delivery, are here assisted by a new generation of drum'n'bass producers. [Aug 2013, p.96]

LGC seem set to bring a winning edginess to drive time. [Sep 2013, p.106]

A consistently impressive record. [Dec 2013, p.111]

Ambitious and beautifully wrought, Dear River should mark Barker's entry into the big leagues. [Sep 2013, p.98]

If the flavor is international, the beef is still all hers, her skyscraper of a voice dominating all around it. [Mar 2014, p.114]

Warm acoustic folk is the dish of the day, with Reader occasionally dipping into chanson and Celtic tunes, never delivered in anything less than immaculate taste. [Mar 2014, p.119]

Sonic Bloom is about inch-perfect accuracy. In other words, re-enactment. Period. [Apr 2014, p.115]

Their technical reach may not yet match their imagination, but that'll come in time. [Jul 2014, p.102]

Easily his best work since Babylon's ubiquity. [Aug 2014, p.106]

At times--as on Providence or Interface--the music takes a serious tinge. [Sep 2014, p.117]

An irresistibly fun-packed career high. [Sep 2014, p.114]

Clever, emotive and thoughtful. [Dec 2014, p.107]

An album that reflects the best moments of his solo debut. [Nov 2014, p.114]

Natural Selection is a triumph of style and content. [Jan 2015, p.120]

Presenting a sound closer to the black-hearted blues of their Brummie idols more than ever before. [Apr 2015, p.97]

If there's an unstable, degraded wobble under their music, it's icily controlled, a deliberate reaction to an uncertain world. [Apr 2015, p.99]

Hemming's voice has an authentic catch, but for all the lyrical loneliness, his lavish arrangements are packed with ideas. [May 2015, p.107]

It's still unclear, for all the charm and enthusiasm, exactly what might mark them out, make them a cause, a rally call. For now, though, Young Chasers is just enough to keep them out in front. [Apr 2015, p.103]

Throughout, there's a warmth to the songwriting that seems at odds with an album released in January. A genuine joy. [Feb 2016, p.116]

Wrong Crowd may still be driven by piano but it charts a new path for Odell. [#361, p.106]

If there's an issue, it's that Rhys's voice doesn't appear often enough, although the instrumental interludes--Chop Sop, Dylan's Demons--are typically quirky and inventive. [Nov 2016, p.113]

Keane fans will be happily familiar with the piano-heavy pop-rock, but those who wanted a little more grit will fine it in spades on The Wave. [Dec 2016, p.105]

It's actually the album's introspective second half which proves most affecting. [Dec 2016, p.110]

An enjoyable conflation of nose-rock influences, mostly tracking back to the post-hardcore scene of the late '80s. [Mar 2017, p.112]