Beans is also in eclectic mood, delivering word association freestyles over a dizzying array of instrumental backdrops. [Mar 2011, p.101]

Dan Mangan here serves up the welcome alternative [to other alt-folkies.] [Jan 2012, p.123]

Yes, he's a magpie--like, is My Girl really not a Ramones cover?--but Willy Moon is classy, forward-looking and 100 per cent on the money. [May 2013, p.100]

So far, so US-obsessed, but scratch below the surface and there's a charismatic quirkiness to Tinie, that makes him an artist apart from his contemporaries. [Dec 2013, p.113]

Though still intermittently thrilling, even they must be beginning to feel like it's time for a change. [Jan 2014, p.127]

Marcus Mumford's wearied vocal keeps the mood honest, rather than histrionic, and he finds a gentle beauty on 'After The Storm's' lonely walk home. [Nov 2009, p.115]

If Bob Dylan can do it, so can Tori Amos, whose own nod to the festive season, Midwinter Graces, is a rather more palatable, ornately arranged selection of self-penned songs and such carols as Star Of wonder and Emmanuel. [Jan 2010, p. 126]

Thankfully, there are no extraneous Latino musical quirks tacked on, instead she is at er best at her most intimate, albeit with a new gust of openness from her far-flung adventures. [Aug 2017, p.110]

Not every song is a slow ride--True Love and Heart Killer are bluesy folk stompers--but on the likes of the luxurious Buzzing In The Light and Critical Equation they allow themselves to revel in dreaminess. [Jun 2018, p.110]

This fourth album finally hits the spot. [Jun 2013, p.93]

Montreal's Preistess are more holy smokers than divers, to the point where this engrossing second album recalls the potent psych-rock of the early-'90s-era. [Apr 2010, p.106]

He's not so much turning into his father... as his wimpy half-brother Julian. [Nov 2006, p.143]

Years & Years may not be with us for the long haul. But right now, they're picture perfect. [Aug 2015, p.110]

It's not as electric as some performances, but it's no wondder he had a heart attack soon after and retired...for now. [Apr 2010, p.126]

It's beguilingly slapdash, but its brevity - seven songs in 23 minutes - nonetheless makes this a frustrating listen. [April 2012, p.98]

Rateliff is writing about his own vulnerability again, rather than telling other people;'s stories, all delivered in a hog-calling bellow that helps set him near the top of the enormous singer-songwriter pile. [Apr 2020, p.113]

Halo's score is detailed and meticulous - but far more sombre than her usually playful, exuberant records. [Jun 2020, p.100]

Scott can't help but overcook things occasionally but fans will gorge on this rich feast of country, soul and downhome rock'n'roll. [Oct 2017, p.111]

His second solo effort succeeds largely because its titular novelty never overshadows the bittersweet folk vignettes, driven by his affecting baritone. [Jul 2011, p.119]

As a singer, Kylie still sounds about 15 and her voice sometimes struggles not to be engulfed by the swells of strings and legions of backing singers. Nevertheless, for the most part, this is quality stuff. [Dec 2012, p.101]

Here the melodies are a forum for a lovely, charismatic voice and some artful, memorable lyrics. [Mar 2014, p.119]

This is music which feels as though it needs to be tethered down, lest it slip its moorings and float higher than the sun. [Mar 2015, p.115]

Deviations aren't needed when you can enjoy Hidden City for what it is: a Cult record. [Mar 2016, p.108]

While it makes for an impressive sound, it's hard not to yearn for more than the occasional flirtation with a second dimension, such as the sitar-driven 'Deer-Ree-Shee ' or the heavy riffed Krauturock-inspired groove that serves as the second half of 'Never/Ever.'

There is the sense that with 25 tracks on offer here Hughes is spreading himself slightly too thinly. [Jan 2009, p.118]

A secret deconstruction of normative notions of romance, with early tasters handed out ribbon-wrapped in Mills & Boon novels. [Feb 2016, p.107]

Mostly their ebullient sixth LP is clever and kooky enough to be cherished on its own terms. [Jul 2019, p.110]

Often the orchestra feels under-used on what, for the most part, are some disappointingly inert reinterpretations. [Nov 2012, p.89]