Silver Steps and Slow Cathedral Melt are all howled melancholy, and equally exciting are Triccs' sonic twists and turns, even if they are exhausting, exhilarating listens.

Poignant beyond words... but never mawkish. [Dec 2003, p.140]

In upbeat pop mode, the quintet are impressive, but when slipping downtempo into ballads, Camera Obscura are in a league of their own. [Jul 2013, p.100]

Practically every track on Late Registration is a glorious pop song. [Aug 2005, p.120]

Prairie Wind finds Neil Young on fine creative form and all too aware of the limited time he may have left to enjoy it. [Nov 2005, p.118]

Melodic, understated, yet with much natural warmth too, Ritter's time has surely come. [Apr 2006, p.119]

There's lots here to get lost in. [Nov 2013, p.109]

The results are still as unsettling as they are stunning. [Mar 2018, p.107]

It's his most enjoyable music in two decades. [May 2017, p.112]

The post-punk provocateurs' 13th album finds them straddling post-millennial metal and ritualistic pounding, Jaz Coleman still still roaring like he's the only sane person in a world of fools. [Nov. 2010, p. 105]

A glorious reinterpretation of some of his [Merle Haggard's] finest songs. [Jul 2017, p.104]

This is the sound of a band perfectly balanced and creatively ablaze. [Summer 2020, p.104]

Dream Wife may borrow from the best, but are indefatigably joyfully their own. [Aug 2020, p.113]

Shallow Life finds them adding substance, specifically Evanescence-esque mass-appeal anthems tailor-made for radio. [Jun 2009, p.119]

Ritter's seventh album may not be quite the same league as Dylan's masterpiece, but post his own divorce it does contain all the same edgy recrimination and pain. [May 2013, p.109]

Scott's energy and enthusiasm burns as brightly as ever. [Summer 2019, p.116]

A delicious vision of pop crooked enough to pull corks with. [Jun 2013, p.96]

Studio-recorded, the all-covers Blues And Ballads reels in his wilder live flights to pensive effect. [Aug 2016, p.114]

There's something magical about the rapturous jumble of C86-esque indie, WOMAD rhythms and cooing dual vocals from Alister Wright and Heidi Lenffer. [Jun 2011, p.110]

God only knows how they stay this angry, or this compelling. [Sep 2015, p.110]

Revolution Radio is Green Day back at their best. [Nov 2016, p.104]

[Morcheeba] return to what they do best. [July 2002, p.117]

Blackly comedic, this is a great debut. [Nov 2018, p.112]

It's splendid listening, probably best appreciated horizontally. [Feb 2019, p.111]

Anderson has rarely sounded more desolate. And Suede, for two decades, have rarely sounded this compelling. [Feb 2016, p.106]

A triumph of irregular precision. [Mar 2016, p.109]

It's a diverting blend of gravity and distraction, but at 17 tracks, it arguably commits that historic rap LP crime of filling all available audio space. [Feb 2015, p.105]

He's better when he approaches modern life from more oblique angles. [Summer 2020, p.104]