Betty Wright is a wise, commanding presence. [Aug 2012, p.11]

The aerated atmosphere might leave some feeling light-headed, but Thompson-Hannant's unfettered energy is infectious. [Oct 2014, p.115]

These ever-changing moods don't make MGMT an easy listen. [Oct 2013, p.105]

His sequel to the quirky, lo-fi assault of 2007's "Spiderman Of The Rings" has a similarly maniac edge, at once mesmerising and unnerving. [Apr 2009, p.102]

There might not be any hits, but it's still a convincing chapter few would have predicted. [May 2013, p.102]

It's a thrilling snapshot of a young rock'n'roll band bent to no-one else's will but their own. [May 2014, p.105]

Hope St. is an expertly crafted burst of energy. [May 2011, p.119]

There is still plenty to enjoy here, though, especially Little Surprise, which occupies a similar territory to Mystery Jets at their best. [Jun 2011, p.124]

It's noisy, danceable, by turns exhilarating and excruciating. But at 90-odd-minutes, beyond exhausting. [Sep 2018, p.114]

A cut high above your usual tankard-on-the-belt stuff. [Jul 2014, p.103]

Mission statement from feted San Franciscan droners. [Sept. 2011, p. 119]

A fascinating trawl through the post-Talking Book period where black pop first embraced electronics. [Aug 2012, p.109]

He clearly has difference aspirations to many of his contemporaries, but on this evidence hasn't completely freed himself o f their influence. [Sep 2014, p.112]

Mixing pleasingly unevolved Ramones-y bangarounds and more reflective punk-pop, the therapeutic lyrics teem with unidentified protagonists having or inflicting a hard time. [Oct 2014, p.115]

Stanley Park, Hornets and Magpie carry a wistful, charming nostalgia about them, but maybe it's a generation too removed making In The Magic Hour's nods to tradition often superficial rather than tapping into the music's deepest heartbeat. [Feb 2016, p.115]

The Violence is ambitious in Hayman's homemade, almost hesitant way, but his vision goes far beyond any other current independent artist, and is a true treasure. [Jan 2013, p.105]

This Boys Noize-produced return is nothing if not perverse. [Oct 2010, p.108]

The results remain defiantly out of the ordinary. [June 208, p.145]

Their quirky, inventive take on hip hop deserve a bigger audience. [Mar 2009, p.98]

Soppiness has become overbearing on recent records, This eighth LP, though, rediscovers their heaviness. [Jun 2013, p.99]

Disappointingly straight-laced. [Jul 2003, p.104]

While One By One starts like the best Foo Fighters album ever it doesn't deliver track-upon-track. [Nov 2002, p.110]

Conflict was always at the root of Living Colour's sound, and finding a balance remains a challenge; even more so for a group whose members work together so occasionally. [Nov 2017, p.111]

The only flaw is the former soldier's gravelly drill-sergeant bark. It packs a visceral punch in small doses, but an unadulterated hour of it is like being violently bullied by Busta Rhymes.

Employment is an album that demands furious scrawls of red pen in the margins. [Apr 2005, p.120]

It's when Hutchison's sinister demeanor matches the darkness of the music that Owl John works best. [Oct 2014, p.116]

It's more melodic, dynamic and accessible than before. [Jul 2012, p.102]

Classic Roots. [Oct 2006, p.126]