Oddly, for an album inspired by the blues, there's not much misery, and what vocals are there get looped and treated beyond storytelling. [Oct 2012, p.103]

[Smith's] curiously magical songwriting skills... remain undimmed by time and drink. [Nov 2005, p.124]

The country-folk roots are earthly present, but old-time tropes are given contemporary settings. [Jun 2014, p.112]

Despite the pluming black-metal geyser of Death Drop, it doesn't have the evil heft of 2017 predecessor World Eater. [Sep 2019, p.108]

Clocking in at a shade over tow hours, there's room for fans of all vintages to find something of value. [Apr 2013, p.94]

If you can forgive them their fondness for epic arrangements, theirs is a debut to transport you to a gentler place. [Jul 2005, p.122]

The Great Western is arguably stronger than either of the last two Manics albums. [Aug 2006, p.116]

His most conventionally rocking album in aeons. [Nov 2006, p.143]

Rushes to the head aside, Progress is a triumph musically, conceptually, personally. [Dec 2010, p.100]

A record that confounds expectations on every level. [Jun 2011, p.110]

With Mariachi El Bronx II, the Mexican wing of The Bronx have moved swiftly to reinforce their authenticity. [Nov. 2011, p. 136]

It clatters past in little over an hour, lean and propulsive despite its sprawling, scattershot nature. [Jun 2012, p.109]

His version of Hey Joe curls around your ears like smoke before you notice what it is. Alice In Chains' Got Me Wrong works because Mehldau doubles the rhythm section on piano, giving it a real kick up the backside and sounding not unlike the great Neil Crowley. [Nov 2012, p.101]

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

There's a deliciously tangy freshness to the massed voices and acoustic thrum. [Apr 2014, p.103]

Despite the hypnotic repetition at its core, it's surprisingly tuneful. [Jul 2014, p.109]

It's easily enough to leave you wishing The Coral would get their distinctive acts together again soon. [Dec 2014, p.108]

A collection that delves deeper than her previous albums. [Mar 2015, p.111]

What Hardy has done here is make a folk album for people who don't normally like folk music. [Apr 2015, p.103]

There's so much going on here that joining the musical dots is a lengthy journey, but on this evidence Georgia can be special. [Sep 2015, p.110]

A nice career reboot, in short, which doesn't torch everything they've achieved in 15 years together. [Sep 2015, p.114]

The spirit of Thom Yorke hovers over the proceedings in places, but ultimately those pining for the still missing-in-action Bon Iver should find some comfort here. [Sep 2015, p.109]

Bold and uncompromising, Transmission is Death In Vegas' most coherent and compelling record yet. [Jul 2016, p.110]

[Dandy is] not even the best thing here, as Fingers Crossed continues Hunter's chain of excellent 21st-century albums. [Oct 2016, p.107]

Lovers isn't instant, but perseverance brings great rewards. [Oct 2017, p.100]

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

It's fantastically alive, electrifying and witty stuff, the sound of something fresh and thrilling occurring. [May 2018, p.109]

Bad Contestant may sound studiously restrained, but Maltese never lets things stagnate, buoying the album along with his amusing lyricism. [Jul 2018, p.115]