Open Here is another prog-pop masterclass from a band reflecting our times while remaining stubbornly out of step with them. [Feb 2018, p.23]

An album that appears to be all about mood and texture transforms over time into a fully realised collection of beautiful songs from an artist determined to keep moving forward, however stealthily. [Jan 2018, p.19]

His second Daptone album swings like Sam Cooke, sways with rocksteady cool, and is as stylishly '60s as a pair of fur-lined Chelsea boots. [Mar 2018, p.27]

A set of limber, largely instrumental funk shot through with Asian, African and Middle Eastern melodies, each track sounds like it could have come off as jukebox single purchased from some dusty overseas record kiosk. [Feb 2018, p.29]

Ty's most unrestrained albums stands among his best. ... Like sitting by a loaded jukebox that turns out gems all night. [Mar 2018, p.16]

Though slight in parts, and hardly groundbreaking, for those craving a little sunshine in these dark days, Vessel Of Love brings the rays. [Feb 2018, p.25]

Richard Koch's trumpet and Shards' choral vocals on the spooky "Human Range" confirm his quiet urge to defy expectations. [Feb 2018, p.27]

For much of the record the Djangos are the same sweet-toothed bunch. [Feb 2018, p.24]

The way they smudge together sounds can feel more untidy than enjoyable, but when they get it right, as on the riff-heavy "taste" and "Spend The Night," it's exhilarating stuff. [Feb 2018, p.24]

Could It Be Different? is a cathartic celebration of newfound self-assurance. [Feb 2018, p.32]

Rest assured it all goes down as easy as a tequila sunrise, though Earthtones could've used more of the adventurous spirit of "So Free," a gorgeously supple eight-minute vamp. [Feb 2018, p.23]

It shows the band at their most proggy. [Mar 2018, p.26]

[She] breathes new life into past glories. [Mar 2018, p.32]

The lyrics seem to be obsessed with mortality and the effect it has on families. [Feb 2018, p.23]

The band's self-titled debut may inevitably lack the electricity of the live shows, but with the abundance of trashy thrills, "I Love LA" and "Let Her Be" still demonstrate the potency of Sytarcrawler's au courant mash-up of Raw Power-era stooges, Sunset Strip glam-metal and Nirvana at their hookiest. [Feb 2018, p.35]

Between Two Shores might be his most compelling and imaginative amalgam of Big Pink folk-rock and Muscle Shoals R&B. [Feb 2018, p.28]

A song cycle that straddles inescapable anxiety and persistent optimism. [Feb 2018, p.24]

This is noticeably a slightly older, wiser o Age, one aware that the rigours of the age demand a little more than good-times positivity. Certainly, they've seldom sounded better. [Feb 2018, p.22]

Lively but also introspective, The House ultimately explores growth through personal reflection, while nestled in a cocoon of immersive electronics. [Feb 2018, p.30]

It's ultimately a record that struggles to step outside the shadows of its influences. [Feb 2018, p.27]

A cappella shanty "Poor Old Horse" is a working class hymn with real bite, while muted electronica gives "As I Roved Out" a thoroughly modern sheen. [Feb 2018, p.35]

Three of the 10 R&B covers he's recorded before, while the five original compositions faithfully plough his familiar tropes. [Oct 2017, p.35]

Simultaneously rooted and rootless, we might call the results Otherworld Music. [Feb 2018, p.35]

[His] voice bulldozes everything in its path, flattening melody and obliterating nearly every sentiment on this overzealous album. [Feb 2018, p.24]

It's the dumb, heads-down rockers that show BRMC at their best. [Feb 2018, p.24]

The Surfing Magazines offer a cinematic surf-themed perspective that adds an interesting layer to a skeleton of spindly indie-pop. [Oct 2017, p.40]

For now Ruins keeps First Aid Kit moving forward, empowered rather than overcome by the wrath of love. [Feb 2018, p.25]

As is the case with his band's startling fusions of space rock, doomy metal and motorik grooves on its four albums, there are many surprising developments here too. [Jan 2018, p.23]