[Myela] descends into a bit of a toe-curlingly worthy WOMAD sing-along. More subtle and far better are gentle ballad When the Body Is Gone and lovely closer Infinite Trees. [Oct 2017, p.107]

As ever there are reservations about Molinari's blase attitude to the second-hand song title, but it's still a solid, engaging set. [Jul 2014, p.111]

Oregon trio deliver harmonious indie bliss-out. [Oct 2011, p.127]

They have turned in their most conventional set of songs yet. [Sep 2007. p.95]

Mild existential dread is delivered over a quietly forceful musical template that owes a lot to the third Velvet Underground album. [Jan 2014, p.127]

If the squelching synths of 'The Original Thought' irritate, the jauntiness elsewhere suggests he's thriving on a lack of commercial pressure. [May 2009, p.119]

Here, melody and charmingly lo-fi electronics vie for attention next to moshpit riffing. [Apr 2011, p.106]

En masse, Maroon's brisk acoustic rock settings and the hyperactive rush of words can still have you reaching for the skip button. But broken into bite-size chunks, its bitterly humorous dissection of the fumbling absurdities of modern life and death is not without pathos.

Heightened emotions stop Keepsake's soft-focus textures from slipping into the background. [Aug 2019, p.111]

Though not without charm. thier debut rarely yields anything distinctive. [Apr 2010, p.120]

It's early days yet, but right now Twin Atlantic are doing nothing wrong and much that is right--their future looks bright indeed. [Jun 2011, p.124]

Foster's voice sounds as beautifully eerie as ever; imagine a ghost from a Deep South 78 brought back from the dead. Little else here, however, sounds avant-garde. [Jun 2012, p.101]

If none are the kind of songs likely to be remembered with misty-eyed affection in another 40 years, they at least entertainingly tackle matters few others would. [Mar 2006, p.104]

Oddly enjoyable. [Dec 2014, p.110]

Refreshingly free of focus-grouped compromises, Sucker is certainly full of character. It's just that the character is a cartoon. [Feb 2015, p.114]

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

The result is a more direct sound. [Apr 2011, p.106]

With her debut, the former member of art-noise cult Gowns sounds like she would quite literally rip out her heart as a sleeve adornment if it served her creative purpose. [July 2011, p. 111]

An oddly addictive hip hop concoction of self-doubt and dread, set against a minimalist, almost jazzy backdrop that's also a bit Tricky, too. [Mar 2011, p.116]

These songs aren't as charcoal-stark as her earlier solo work, but the aura of breathy acid-folk enchantment can leave the feeling there is too much atmospheric smoke, not enough revelatory mirror. [Aug 2015, p.104]

This sequel to 2011's Interplay again taps a renewed interest in minimal wave's glacial harmonies and pattering beats... though it's the man who triumphs over the machines. [Jun 2012, p.101]

How much you enjoy it will depend on how you feel about largely structureless sonics, but if you just submerge yourself into it, there's plenty to discover. [Oct 2018, p.108]

What it lack in surprises it makes up for in songcraft. [Oct 2017, p.108]

A66 is made thrilling by the gear change midway through, ditching its Sabbath crawl for a brutal climax. Nothing else quite succeeds in cutting through the downtuned murk, although riffs are uniformly monolithic and frontman Matt Baty's throaty bark is never less than entertaining. [Nov 2018, p.112]

This polished set plays to his strengths--Oil And Water is an emotive half-ballad with Rag'n'Bone ambitions while the surging Fuel To The Fire channels Emeli Sande. It's a relief, though, when he lightens up a bit. [Nov 2017, p.112]

If there's a fault, the self-consciously retro production doesn't push her far enough. [Jul 2013, p.106]

While Derdang Derdang has killer hooks aplenty, they're all too often obscured by stop-start rhythms and the unhinged-sounding vocals of Sam Windett. [Apr 2006, p.119]

The results, while never quite suggesting imminent breakthrough, are sometimes elegiac. [Nov 2006, p.147]