None of this would work, of course, if there wasn't pop-rock nous at the core of this band whose opening shot is relentlessly, exhilaratingly effective. [Dec 2008, p.123]

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

It's the vocals which gives this debut its distinctive flavour. [May 2018, p.107]

The overall impression is one of a band who are now masterfully in control of their craft. [Apr 2014, p.111]

Tinashe's voice is pure and malleable, her lyrics suggestive and assertive. [Dec 2014, p.116]

Instead of intense rock, it's a more atmospheric piece of work. [Nov 2005, p.123]

It often feels as if Aitchison's nasal croon and counter-intuitive toplines are the least interesting bits of her own project. [Nov 2019, p.116]

The mood is one of eerie dread as the music slowly unfurls in stately fashion, the rhythms frequently mimicking a horse's trot. [May 2014, p.119]

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

Club Meds is a bold move from a rapidly developing talent. [Feb 2015, p.110]

An interesting stopover on a journey marked by constant curiosity. [Oct 2019, p.110]

Of the 11 tracks, five are lovely, three are makeweights and an equal number excellent. [Dec 2006, p.133]

Making soaring beauty out of the disarray of her life. [Sep 2019, p.112]

He's more class than charisma. [Jul 2015, p.111]

For the most part, though, this record is defined by its vibrancy, especially with bassist Lou Barlow's melodic vocal contributions to Love IS... and Left/Right. [Aug 2016, p.110]

There's a sleek electronic sheen but also a welcome return to stripped-down songcraft. [Jun 2010, p.126]

It works... stretching rap into weird new shapes. [Feb 2003, p.97]

Comeliness and brutal candour in equal measure. [Jun 2003, p.92]

It's uniformly good, apart from Bob Mould's new house direction, which gets laughs for all the wrong reasons. [Jan 2004, p.124]

The good news is Songs For Christmas isn't the self-indulgent folly it may appear. [Jan 2007, p.152]

Monsters Of Folk haven't quite produced the great American record the title promises, but they're a pretty super group all the same. [Oct 2009, p.109]

{Awayland} is not blessed with the stark folkloric purity of Becoming A Jackal. It still confirms, however, that O'Brien is a songwriter out of step, out of time, and when he hits his lyrical stride, out of this world. [Feb 2013, p.110]

Though its concept may remain opaque, Carnival Of Souls compels. [Oct 2014, p.116]

The result is his slickest and best-produced record yet: all warm beats, electric piano and weeping, reverb-y pedal steel. [Nov 2018, p.113]

Finn's sonic tricks and references to love gone sour undercut the prettiness and hook the listener in, again and again. [Aug 2008, p.142]

It's impressive she even had enough time to record an album, let alone one as accomplished as Fading Lines. [#361, p.107]

It roars with confidence and vigour. [Sep 2019, p.106]

The Walkmen are inching closer to the mainstream, while remaining utterly distinctive. [Jul 2012, p.112]