Bombay Bicycle Club might have veered all over the track, switching between the folk lane and the electronic one, elbowing indie-pop out of the way, but they still aren't setting the pace. [Mar 2014, p.112]

Pithy stompers such as 'Short Fuse' and 'Drugs' tell their own story, but the spooked death rattle of 'The Drop I Hold' is at least proof that the experimental mind-set of 2007's " Good Bad Not Evil" wasn't a one-off. [May 2009, p.107]

Varshons succeeds thanks to an inspired breadth of material. [Jul 2009, p.125]

It seems hard to believe that the man who made this album is the same one responsible for the 1984's still splendid Rattlesnakes.

Oddly, it [maturity] suits them well. [Oct 2017, p.105]

A solid, if not essential, Desert Sessions return. [Dec 2019, p.109]

Inevitably, it sounds dated. [Feb 2005, p.102]

When it works... he is as heroically spirit-raising and stomach-tighteningly emotional as he was on Play.... Yet, when Moby plods, it's as if the world is burning with boredom. [Apr 2005, p.121]

It's a shame that the album starts so blandly. [Sep 2014, p.109]

Forever isn't a huge creative leap forward, but at its best--particularly on dancefloor-friendly laments such as Beautiful Wreck--there are moments that hint at brilliance. [Nov 2018, p.109]

When the volume dips and Smith takes centre stage, United We Stand suddenly comes alive. [Jul 2012, p.95]

No new ground is broken here, but Tallies map their well-worn journey with a sure sense of direction, songwriting skills cutting through the dreamy fog. [Feb 2019, p.116]

Unashamedly and undeniably in the thrall to '70s pop, The Apples In Stereo have a merry tune in their hearts. [July 2010, p. 128]

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

There may be more instant records, but a little effort reaps its own rich rewards. [Feb 2013, p.109]

The band seem to be pushing their hi-spec power-indie as far as it can go. [Jun 2017, p.110]

Baby filters modern life through psychedelia, early Beck and , on Graveyard Dawn, exciting imaginings of a Giorgio Moroder-produced Pink Floyd. [Jun 2017, p.105]

The result is a vibrant hybrid of bass-heavy beats and ragga toasting that echoes the digital dub revolution that swept through reggae in the mid '80s. [Aug 2009, p.109]

His diluted indie-whine does become obnoxious over the long haul. [Mar 2003, p.104]

It is only when she tries something a little different that Macy comes unstuck.

Warrior, a moderate improvement of her disappointing debut Animal. [Jan 2013, p.106]

Though some tracks' slightly antiseptic atmospheres mean reality-obliteration promised by the group's name fails to fully manifest. [Apr 2016, p.102]

Third will probably be more admired than listened to and, you suspect, this suits Barrow, just fine. [May 2008, p.131]

Electric is a first-class showcase for Thompson's spine-tingling solos but not the consistent song collection that was 2010's Dream Attic. [Mar 2013, p.110]

Tracks such as Celebrate and Push lack the euphoric uplift necessary for dancefloor dominance, while the relationship angst hinted at in strobe Light comes masked behind a dreamy production gauze. When they hit the sweet spot, however, the results are sublime. [Jun 2017, p.110]

It may ultimately be as disposable as dime-store popping candy, its sugar rush still hits the spot. [Nov 2008, p.107]

Trouble feels like a multi-faceted, compound eye of a record, picking up different sides to every story and blending them into a smooth, undeniably odd whole. [Mar 2014, p.113]

Guided by a love of '80s synth-pop, but feeding in elements gleaned from Chicago house and Italo disco, they come across like a Nordic Junior Boys. [Oct 2017, p.107]