Snaith has perfected his recipe for bite-sized psychedelia. [Nov 2014, p.71]

This is acoustic roots music at its most glorious, and Giddens is fast becoming the genre's brightest star in the firmament. [Jun 2019, p.33]

There's not a weak moment to be found. [Jul 2020, p.34]

It's a pity that the immaculate construction that is Ghosts now has an extension tacked on to it. [Apr 2006, p.119]

What an incredible head-spinning trip this album is. [Aug 2025, p.26]

Extra disc Kid Amnesiae mostly puts a fresh spin on pre-existing material, with just a handful of previously unheard compositions. Hearing them again two decade later, the shock of the new has faded, but the sonic richness and meticulous attention to detail endures. Behind the fizz and crunch and crackle lies a surprisingly lush, soulful beauty. [Dec 2021, p.40]

Not for the faint-hearted, Damien Jurado is a habit which won't necessarily bring joy to the listener. But once acquired, you will find it hard to kick. [Apr 2003, p.106]

Strikingly immediate, yet also rewarding repeated immersion, the 10 tracks here are, just as Forster intended, amusing, infectious and relaxed. [Oct 2015, p.65]

There's a defiance in each painful note. In tasting despair, Tahliah Barnett has returned 10 times stronger--in spirit and voice. [Dec 2019, p.27]

Bristles with the unruly energies that enlivened their younger incarnations. [Mar 2021, p.32]

MCII hits you with the immediacy of a record that you're listening to for the first time but feel like you've already heard a thousand times and yet still aren't bored of. [Jun 2013, p.70]

Thompson’s writing gives this stellar cast plenty to work with, her wit rising to such meta conceits as “John Grant”, on which John Grant sings of Thompson’s fondness for him, and “Those Damn Roches”, on which Teddy Thompson conveys the tempestuousness of musical dynasties – including his (and his mum’s) own. [Jul 2024, p.39]

Deep and heartbreaking. [May 2023, p.35]

The death of beloved bandmate Carey Lander in 2015 seems to have inspired the freshest, blithest song's [Tracyanne Campbell's] written. [Jul 2018, p.34]

The standard is so consistently high, sides so conclusively split, even after six years' familiarity with his schtick, that genius is the word. [Jan 2005, p.116]

Pete Townshend’s songwriting reaches deeper and wider with the unveiling of left field gem “Sunrise”, celebrated pocket opera “Rael” and the mighty “I Can See For Miles”. The band’s playful spirit also means it carries its conceptual weight lightly. [May 2021, p.46]

It's warm and weird, but suddenly no stranger than the world around it. [Jul 2018, p.32]

The extraordinary power and jaded romance of Suede, which has been given renewed depth and sparkle in this new version. [Sep 2023, p.49]

In short--a monumental album.

Noel Gallagher, who has been writing with Weller since 22 Dreams, co-pens one of the best songs he’s put his name to in a while: a stomping piece of glammy punk called “Jumble Queen”. .... Elsewhere, Weller’s own songs are also beautifully enhanced by other collaborators. [Jul 2024, p.24]

It's a more poignant epitaph to their fine career than the dour and sometimes impenetrable The High Country. [Apr 2016, p.77]

Songs Cycled is opaque and entirely accessible. [Jun 2013, p.80]

He’s a figure of Springstonian heft in his native Australia. Fever Longing Still, his first album of new material this decade, further demonstrates that the rest of the world’s obdurate indifference is entirely its own loss. [Dec 2024, p.36]

Ba Power feels like another dramatic leap forward and a further landmark in the integration of African tribal rhythms and western rock'n'roll. [May 2015, p.85]

There's a lighter, more hopeful bent to the musical settings, which perfectly balance the more dissonant leanings of The King Of Limbs with a sumptuousness and gentleness they've rarely sought since OK Computer. [Aug 2016, p.81]

Things are really supercharged here by Epworth's electronic touch. It's a highly potent and undeniably successful combination. [Oct 2025, p.24]

It’s an incredible, accomplished confection, kept on track by Greep’s way with a tune and the grotesquery of his ear-catching lyrics. [Nov 2024, p.36]

What soon unfolds proves to be a profound evolution via the almost operatic crescendo that follows. Over the remaining five tracks, improvisational noise-rock gives way to more considered and structured songwriting, lush melodies and singer Geordie Greep’s new vocal style – which he croons with stirring tenderness. ... There’s not a single predictable second to be found on Cavalcade. [Jun 2021, p.23]