Quite unlike any other record you'll hear this year. [Nov 2013, p.116]

Not so much a comeback, more a welcome back. [Nov 2013, p.114]

Punching way above her 20 years, like a wild child Loretta Lynn, it's the sort of country music that belongs in those dives where they've got chicken wire to stop the flying glass. [Nov. 2011, p. 142]

It packs copious groove, Monument Valley-scale riffs, decent songs, and an Al Green homage which only lacks a Premier League singer to take it to the heavens. [May 2019, p.119]

Impressively, she pulls off both sympathy and empathy. [Oct 2008, p.138]

This unashamedly adult collection drags Feist deeper still into major talent territory. [Jul 2017, p.107]

It's their artless harmonies and feel for rhythmic space that lift the songs to another level. [Aug 2017, p.107]

If you haven't bought one of his [Mark Lanegan's] records for a while, this is a great place to get reacquainted. [Jun 2013, p.100]

Play With Fire is the perfect length: straight in and straight out, leaving you wondering just where that knife wound came from. [Sep 2020, p.109]

Something rather lovely with a jittery edge that halts proceedings well before they arrive at saccharine-sweet. [Aug 2003, p.115]

Eucalyptus is a carefully constructed illusion of random perceptions, an apparently scattered psyche coming together beautifully. [Aug 2017, p.102]

From rock riffs to cheesy electronics, nothing is off limits here, the gurgling stream of playful beats and gorgeous melodies carried along on a tide of Can's dreamy krautrock, ambient instrumental bliss and infectious '70s rock grooves.

The four-piece, fronted by Valerie Trebeljahr, rarely ever risk bereaking a sweat on Our Inventions. Theirs is a world where icy electro clicks and surges in sublime slow-mo. [May 2010, p.122]

Melodies unfold, lyrics reveal their meaning and the wait is revealed as having been worth it. [Jun 2014, p.116]

Fifteen years after his debut, it was about time Ed Harcourt made a career-defining record. Here it is. [Sep 2016, p.106]

Sometimes an attitude, a thumping beat and an A-plus scream like the one Carrie Brownstein provides here are really all that's needed. [Oct 2002, p.117]

The key is that Murphy, unlike his peers and the bands he's produced, is more interested in excellence than cool. [Feb 2005, p.96]

The Neon Skyline stands up as a great collection of moodily atmospheric songs. [Mar 2020, p.120]

A more approachable set that engulfs his melodramatic grumble with dizzy synths and sax from Chicago extraordinaire Mantana Roberts. [Feb 2019, p.115]

He more often turns the spotlight on himself, raw and uncompromisingly direct in a way that only an album recorded in a few short days can be. [Feb 2016, p.115]

This eccentric experiment from indie-dance pioneer Steve Mason sees him embracing the '80s with fervour. [Aug 2008, p.132]

Easy Machines is ultimately more engaging, its mangled classic pop recalling Guided By Voices. [Jun 2017, p.105]

There's a crystal-clear production and a return to his most precious musical touchstones. [Jul 2017, p.115]

Remarkably fresh, contemporary and upbeat for a band's 13th studio album. [Jul 2017, p.106]

On this career highlight they deliver their memorandum as effectively as at any time in their 30-odd-years of operation. [May 2013, p.113]

As twinkly-toed as debuts come. [Aug 2017, p.109]

By turns impassioned, thoughtful and thrilling, it makes for a standout debut. [Jun 2014, p.117]

Richard Feerless's far-ranging and impeccable influences are combined to create something new and exhilarating. [Oct 2011, p.131]