The next crossover metal band has arrived. [Nov 2013, p.101]

Breathlessly current in its maxed-out production, but also properly robust, Bitter Rivals should turn Sleigh Bells into serious contenders. [Dec 2013, p.104]

Although Lion City's best moments come with the fusion of African and Western psychedelic rock to ambient atmospherics, standout song Justice will suit anyone who's ever wondered what might happen were Bruce Springsteen to write a blue-collar anthem with African rhythms. [Jun 2014, p.108]

A welcome reversal of fortunes. [Aug 2015, p.112]

Separations, divorce, remarriage and kids all feed into 12 tracks of disastrous love, welcome redemption and rekindled fire, but not everything works. [May 2016, p.111]

As ghostly grey as an autumn fog, it's definitely a record for when the rain's hammering on the windowpanes at home. [Sep 2016, p.102]

If the question is whether they're moving Busted forwards, then the answer is a resounding, robotic, synth-laden yes. [Dec 2016, p.105]

Fans will find few surprises on this full-length debut, which opens with Silhouette's emo-soul ballad and throughout maintains a mood pitched somewhere between tortured and despairing. [Apr 2017, p.111]

Smart, witty and warm. [Dec 2017, p.113

The result is an album that feels mystifyingly oblique, but also unburdened with the pursuit of anything bar a gentle beauty. [Aug 2018, p.111]

Her's mine post-punk and new wave with a tasteful restraint, fusing Scritti Polotti's twinkling, slinky grooves with the luminous lugubriousness of Orange Juice to create something that feels distinctly theirs. [Sep 2018, p.113]

A deeply satisfying upgrade. [Feb 2019, p.115]

A little too straightforward. [Oct 2019, p.110]

Ultimately, you're left wishing that Panic at the Disco had more to say about their own generation, instead of mimicking that of their parents'. [May 2008, p.134]

Superb. [May 2012, p.105]

For all its chiseled flirtation, what Anything In Return fails to offer is any real emotion. [Feb 2013, p.112]

Fog is about as far from his work with Will Oldham as it's possible to be while still playing the guitar. [Feb 2013, p.101]

Williams should inject more urgency to his sound. [June 2008, p.148]

There's more than enough for a killer accompaniment to his book, but as a standalone album, Let love needs a tougher edit. [Oct 2019, p.106]

It's simple fare, true, but wholly enjoyable for it. [Jun 2010, p.124]

Mirror's In The Sky's bewitching yet minimal folktronica [is] dominated by the most rudimentary of beats and weird little keyboards. [Apr 2014, p.109]

Slurrup follows last summer's Korp Sole Roller and tones down the ornate arrangements for a more straightforward '60s British beat boom approach. The problem is it makes him sound pretty ordinary. [Feb 2015, p.110]

Get Lost is a deliberate break with the woozy synths of his earlier work. The rest of the LP doesn't quite follow through n that adventurousness. [Aug 2017, p.112]

Perplexingly, the arrangements are so sparse that there's not quite enough fully formed songs to carry the album off. [Nov 2009, p.112]

An intriguing record, it takes bending acid-folk as its base camp but is at its most interesting when exploring more unexpected musical universes. [Feb 2015, p.110]

Grand Archives have been together for less than 18 months, but their polished debut suggests a far longer gestation period. [Apr 2008, p.107]

As with a lot of their work it can occasionally lack bite, some fire in their impeccably tasteful bellies. [Nov 2019, p.108]

A giddy blend of nostalgia and invention that'll do just fine for starters. [Dec. 2011 p. 136]