It's not as immediately brilliant as its predecessor, but still possessing some fine moments. [May 2026, p.101]

This is over-produced and underachieving, [May 2026, p.103]

There are flashes of their old brilliance. [May 2026, p.101]

This fine album is further evidence of the innovative artistry of contemporary folk-related performers. [May 2026, p.101]

Butler's increasingly woodsy timbre serves People Move On nicely. It's not as stirring, with Butler's intimate tilt at post-Suede liberation anthem Not Alone losing the original's euphoric flush, though the trio's euphonious harmonies prove reliable - if occasionally drowsy - elsewhere. [Apr 2026, p.105]

There are numerous examples of predictable usual suspects (the fuzzy goth of The Cure's Primary, a trippy twist on The Cramps' Goo Goo Muck), but deeper riches are found in what, on the surface, might be seen as curveball choices. [Apr 2026, p.105]

A woozy, jazzy soundscape. [Apr 2026, p.98]

While the sharp electric riffs pair neatly with the existential themes of the 26-year-old's lyrics on Agony Freak, its sounds are a little generic in the realm of contemporary indie-rock. Jordan does much better with the warm, Sundays-inspired jangle chords in Tractor Beam and my Maker, the album's high points. [Apr 2026, p.109]

This is a reasonably entertaining album. [Apr 2026, p.106]

It feels almost improvised half the time, but there's a quiet, escalating intrigue to their murmurings. [Mar 2026, p.105]

Sometimes predictably frustrating, sometimes pleasingly fresh, Make-up Is A Lie is a reminder that Morrissey probably couldn’t stop at this stage of the game, much less change. [Mar 2026, p.100]

It's the polar opposite of Moby's early hardcore punk and dancefloor output, so go elsewhere if that's your preference. [Mar 2026, p.104]

The music is at its most interesting when it veers off at a tangent - the snappy organ fuelled Social Climbing Scene and the loping gait of the title track. [Mar 2026, p.104]

They whack the volume up to 11 million, and warp familiar songs with a blend of manic posturing and slick postering. [Mar 2026, p.105]

These are assured, solid songs by very good musicians, albeit lacking a killer punch or any wild, barrier-pushing inspiration. [Feb 2025, p.102]

Strange Life makes for a very agreeable comeback. [Feb 2026, p.101]

All in All, a fond if sometimes overly polite farewell. [Jan 2026, p.101]

Smith's career detour feels like a rather wan aside from a singer spread somewhat thin. [Christmas 2025, p.135]

Miran deep dives into ambient territory. [Feb 2026, p.102]

The ideas - hardly in short supply - fail to crystallise in the way they did on recent high-water marks Aulos (2000) and Multiversum (2002). [Feb 2026, p.103]

An endearing compendium of styles, if perhaps lacking any real headline-grabbing tunes. [Feb 2026, p,101]

It's an energetic affair, a barrelling collision of Britpop and electro, lots of distorted vocals, the sort of thing you don't hear so much anymore. [Feb 2026, p.101]

A recording half the length would have been more pleasurably effective. [Jan 2026, p.103]

They unleash 12 songs driven by earnest vocals, fuzz-tinged riffs and steady grooves. If there's a quibble, Selling A Vibe is often cohesive to the point of being monotonous. [Jan 2026, p.101]

Does a fine job of transmitting the spit and fury of their own shows, even o the studio setting. [Jan 2026, p.101]

Westerman has crafted a collection of songs steeped in nostalgia and simplicity. [Jan 2026, p.103]

There’s a taut, garage-like sensibility to the arrangements, a discipline lacking from the originals, in a satisfying, worthwhile salvage expedition. [Jan 2026, p.101]

The voice is perhaps a little too polite in places, but lets loose in fine testifying form on the closing Heart Of Mine. [Christmas 2025, p.133]